THE CLEVELAND MUSEUM OF ART MEMBERS MAGAZINE
March/April 2013
CLEVELAND ART
FROM THE DIRECTOR
Dear Members,
Since 2010, we have used the March/April magazine to
review highlights of the previous year’s acquisitions, an
approach that has proved to be popular with our readers
and our curators alike. This time, we asked each cura¬
tor to select one to three works and gave each of them a
page in which to illustrate and write about them. From
chief curator Griff Mann’s brief introduction on page 10
to the last curatorial entry on page 25, these pages offer
an overview of the museum’s collecting activity during
2012, with each selected highlight coming in the cura¬
tor’s own words. The variety and quality of the museum’s
acquisitions continue to set us apart as one of the world’s
elite collecting institutions.
The Last Days of Pompeii: Decadence, Apocalypse,
Resurrection opened February 24, beginning a run that
will last into the summer. The exhibition, which our
own Jon Seydl co-organized with colleagues at the Getty
Museum in Los Angeles, explores how the catastrophic
events two millennia ago at Pompeii have taken on pow¬
erful symbolism to artists of recent centuries; the show
features an intriguing mix of works ranging from the
18th century to today. The department of education has
arranged a rich menu of accompanying programs includ¬
ing lectures, gallery talks, and even in-gallery theater
performances.
Curator of photography Barbara Tannenbaum picks
up the theme from a different angle with her show Amer¬
ican Vesuvius featuring the photography of Frank Gohlke
and Emmet Gowin, both of whom traveled to the site of
the 1980 Mount St. Helens volcanic eruption and came
away with compelling bodies of work. We’re delighted
that both artists are participating personally: Emmet
Gowin spoke here in February and Frank Gohlke wrote
the article in this issue that starts on page 4.
Across the KeyBank Lobby from the main exhibi¬
tion hall in the newly opened Kelvin and Eleanor Smith
Foundation Gallery, curator of medieval art Stephen
Fliegel offers an exhibition built around a great Italian
Renaissance illuminated book called the Caporali
Missal, a masterwork acquired by the museum in 2006.
The installation evokes the reverential quiet of a
medieval church. In the prints and drawings galleries,
Heather Lemonedes has developed the first-ever exhibi¬
tion celebrating the museum’s fine collection of British
drawings (with a sumptuous catalogue available in the
museum store). The focus show about the museum’s
great Blue Period Picasso, La Vie, runs until April 21.
The museum has long presented performance and
film with the same curatorial attitude applied to the vi¬
sual arts. Massoud Saidpour’s article on page 6 about the
ancient Persian art of Naqqali storytelling embodies this
approach: read his story, then make sure to attend one of
the performances by Morshed Valiollah Torabi between
March 6 and 10. Meanwhile, John Ewing continues to
champion the art of cinema with filmmakers appearing
in person, movies inspired by Pompeii and others about
California music composers, and our annual collaboration
with the Cleveland International Film Festival.
Finally, I’m pleased that our efforts to collaborate
with University Circle neighbors continue to bear fruit,
as described in the article on page 8 about joint projects
with CWRU. The potential of the Circle to grow as a
fount of thought and innovation is great and we are eager
to help lead that evolution.
|TvTv~.L— : —.
David Franklin
The Sarah S. and Alexander M. Cutler Director
CLEVELAND ART
COVER
The Temple of
Vesta and the Falls
at Tivoli (detail),
1859. William Callow
(British, 1812-1908).
Watercolor with
gouache and graph¬
ite underdrawing;
75.1 x 57.8 cm.
Sundry Purchase
Fund 2011.4. On
view in British
Drawings.
Cleveland Art: The Cleveland Museum
of Art Members Magazine
Vol. 53 no. 2, March/April 2013
(ISSN 1554-2254). Published bimonthly by
the Cleveland Museum of Art, 11150 East
Boulevard, Cleveland, Ohio 44106-1797.
POSTMASTER: Send address changes
to Cleveland Art: The Cleveland Museum
of Art Members Magazine at the
Cleveland Museum of Art, 11150 East
Boulevard, Cleveland, Ohio 44106.
Subscription included in membership
fee. Periodicals postage paid at
Cleveland, Ohio.
Questions? Comments?
magazine@clevelandart.org
Magazine Staff
Editing: Barbara J. Bradley, Gregory M.
Donley, Kathleen Mills. Education
listings: Liz Wilcox-Clay
Design: Gregory M. Donley
Photography: Howard T. Agriesti,
David Brichford, Gregory M. Donley,
Gary Kirchenbauer
Printed in Cleveland by Great Lakes
Integrated
cuyahoga
arts & culture
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Mixed Sources
Product group from well-manage
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Ohio Arts Council
A STATE AGENCY
THAT SUPPORTS PUBLIC
PROGRAMS IN THE ARTS
2 March/April 2013
ON VIEW
The Last Days of Pompeii:
Decadence, Apocalypse,
Resurrection Through July 7, Smith
Exhibition Hall. The volcanic destruc¬
tion of Pompeii in ad 79 has been a
modern obsession for artists from
Piranesi, Ingres, and Alma-Tadema to
Duchamp, Rothko, and Warhol.
Co-organized by the J. Paul Getty Museum and the
Cleveland Museum of Art. BakerHostetler is the
presenting sponsor of this exhibition in Cleveland.
BakerHostetler
Studio Glass in Focus: Dialogue and
Innovation Through April 14, Ratner
Gallery. Drawing on the museum’s
and local collections, this exhibition
celebrates a major medium of the late
20 th century.
Picasso and the Mysteries of Life:
La Vie Through April 21, Gallery One.
An intensive exploration of La Vie ,
Picasso’s culminating masterwork
of the Blue Period.
Untitled 2002. Antony Gormley (British, b. 1950). Mild steel blocks; 45 x 189 x 53 cm
(overall). Collection of Asher Waldfogel and Helyn MacLean. Photo: Stephen White,
London. © Antony Gormley
Fred Wilson:
Works 2004-2011
In the glass box
gallery
Fred Wilson: Works 2004-2011
Through May 5, east wing glass box
gallery. A unique installation centered
on To Die Upon a Kiss , a glass chande¬
lier hanging in the glass box gallery.
American Vesuvius: The Aftermath
of Mount St. Helens by Frank Gohlke
and Emmet Gowin Through June 2,
photography galleries. Important
series by two photographers who
independently took to the air after the
1980 volcanic eruption.
Made possible through the support of Nesnadny
+ Schwartz
British Drawings from the Cleveland
Museum of Art Through May 26, prints
and drawings galleries. This show of
about 50 drawings includes works by
some of the best-known artists in the
history of British art.
The Caporali Missal: A Masterpiece
of Renaissance Illumination Through
June 2, Smith Exhibition Gallery. This
exhibition revolves around a sump¬
tuous and important Renaissance
manuscript acquired by the museum
in 2006.
Connecting with Caporali April 5-
June 2, education lobby. Showcases
the artwork of students from several
local universities created in response
to the themes and objects in the CMA
exhibition The Caporali Missal: A Mas¬
terpiece of Renaissance Illumination.
Renaissance Textiles Through Decem¬
ber 1, gallery 113. About 15 Italian silks,
velvets, and altar frontals of the 14th
and 15th century from the museum’s
world-class collection.
Red Leaf about 1995. Dante Marioni
(American, born 1964). Blown glass; 3314 x
6 V 2 x 4 in. Private collection, Cleveland. In
Studio Glass in Focus
3 www.ClevelandArt.org
Frank Gohlke Photographer
Sublime Catastrophe
The artist traveled to Mount St. Helens across the decade after its
eruption and came away with more than just photographs
efore the explosion of Mount St. Helens in 1980, only two
noteworthy volcanic eruptions occurred in the continental
United States in the 20th century. The Alaska Peninsula,
where Novarupta erupted in 1912, is remote; when the
National Geographic team finally arrived four years later,
they were awed by the scale of the destruction. Novarupta
was the 20th century’s largest eruption anywhere; its lo¬
cation, however, meant that very few people were aware of
it. Mount Lassen in California received more attention as
it erupted between 1914 and 1917, but the slow speed and
shallow penetration of the news media of the day limited
the impact. Both stories were discrete events, not con¬
nected by any larger narrative.
When Mount St. Helens began waking up after 130
years of dormancy in March 1980, the phenomenon was
better understood by scientists and a larger audience
of interested citizens. The theory of plate tectonics and
its public acceptance made individual eruptions part of
Right and far
right:
Mount St. Helens
from Approxi¬
mately 6 Miles
West of the Moun¬
tain 1981. Frank
Gohlke (American,
born 1942). Gelatin
silver print; 73.9 x
84.1 cm
Mount St. Helens,
Rim, Crater, and
Lava Dome 1982.
Frank Gohlke. Gela¬
tin silver print; 96.2
x 100.8 cm
Both © Frank
Gohlke / courtesy
Floward Greenberg
Gallery
a much larger story that included the collisions of con¬
tinents and the evolution of life on earth. Big stuff. By
1980 the technology available made it possible to tell
the story as it happened. One of the first actions taken
by the U.S. Forest Service was to open a press office and
designate a public information officer. Mount St. Helens
was a celebrity volcano from the first puff of steam that
March.
I had only the vaguest grasp of the history and the
science when I made my first trip to the mountain in June
1981. (What little geology I knew came from a 1963 sum¬
mer class in Wichita Falls, Texas. The theory of plate
4 March/April 2013
tectonics was about to shake geology to its foundations,
but we felt not a tremor.) Drawn by the desire to be in a
place where vast power had been set loose, I wanted to
experience intimately the presence of the biggest things
that happen on the earth. To feel insignificant in the face
of forces unimaginably greater than oneself is the quintes¬
sential sublime sensation as defined by Edmund Burke in
1756. The idea that terror could be an aesthetic experi¬
ence was a novel development in European thought, and
sublime experiences were not expected to be comfortable
or pleasant. The pleasure they promised was qualitatively
different from that associated with beautiful objects,
which Burke and others deemed inferior to the elevation
of the imagination resulting from the simultaneous expe¬
rience of negative and positive emotions—the exquisite
pleasure of being scared out of your wits.
For the first three days I poked around the pe¬
riphery of the blast zone. The peak itself was hidden
in clouds, and I felt a superstitious dread of going any
closer until I had received some sign from the mountain
that I was invited. On the afternoon of the fourth day, the
weather cleared, and I saw Mount St. Helens for the first
time. It was huge. I was much closer than I had thought,
or the mountain was vastly bigger than I had imagined.
I was in awe; it could crush me like a bug.
The size of the impact zone and the distinctiveness
of each place within it assured me that I had years of
work ahead of me. Two hundred thirty square miles is
a daunting amount of ground for a single individual to
cover. Complicating the problem was the difficulty of
Right and below:
Braided Streams
of the Toutle River
West of Mount
St. Helens,
Washington 1981.
Emmet Gowin
(American, born
1941). Gelatin silver
print; 27.9 x 35.6 cm
Spirit Lake and
Mount St. Helens,
Washington 1983.
Emmet Gowin.
Gelatin silver print;
27.9 x 35.6 cm
Both © Emmet and
Edith Gowin; cour¬
tesy Pace/MacGill
Gallery, New York
EXHIBITION
American
Vesuvius:
The Aftermath
of Mount St.
Helens by Frank
Gohlkeand
Emmet Gowin
Through June
2 , photography
galleries
Made possible
through the
support of Nesnadny
+ Schwartz
getting around in the early years when many roads were
still impassable or had disappeared entirely. I spent the
first four summers—1981, 1982, 1983, and 1984—
seeing all parts of the impact area at least once. When
I returned in 1990, most of the area had opened up and
a trail to the summit was available to hikers.
The natural disaster occurred against the backdrop
of a man-made one: for over a hundred years commercial
timber companies, with the active collaboration of the
Forest Service, had been replacing the ancient forest of
the whole northwest coast from Alaska to northern Cali¬
fornia with an enormous tree farm. The eruptions hardly
slowed them down. They just started salvaging all the
usable wood from the impact area. Only the creation of a
National Volcanic Monument prevented them from taking
it all.
In the early ’80s, I and many others around the
world were preoccupied with the size and destructive
potential of the world’s nuclear arsenals. In that con¬
text it was easy to see the ravaged terrains of Mount St.
Helens as premonitory of a future that no one seemed to
want but that no one could stop. In retrospect, the most
sobering aspect was how energized I was in these places
that had been stripped of all evidence of a previous ex¬
istence. The thought of an ordinary person prey to such
fantasies—with his or her finger on the nuclear button—
should disturb anyone’s sleep. By the time of my last
trip to Mount St. Helens in 1990, the Soviet Union was
no more. The Johnston Ridge Observatory was taking
shape and a new road pushed through from Castle Rock
to handle the anticipated traffic. Events had, happily,
ruined my nuclear metaphor.
I was left with what had really fueled my quest in
the first place: the excitement of seeing things that were
new in every sense. Areas close to the mountain were a
clean slate, virgin ground, a chance to observe an eco¬
system rebuilding itself from nothing. The landscapes
I encountered gave fresh meaning to exclamations such
as “I’ve never seen anything like it!” My time there was
transformative, reshaping my understanding of photog¬
raphy at every scale, from the details of picture-making
to my sense of vocation as an artist. It might sound odd,
but before Mount St. Helens I was not conscious of hav¬
ing a relationship with the universe. When I thought
about the “here and now” of my life, it was in the nar¬
rowest of terms, rarely going beyond my chronological
age and the city I happened to be living in. At the end
of my decade of photographing at Mount St. Helens I
felt like a full citizen of the cosmos, on a timeline extend¬
ing from the big bang to whatever end the universe might
be heading for billions of years from now. My location
encompassed the farthest galaxies and the interactions of
fundamental particles. That’s a lot to claim for a middling
volcano, but Mount St. Helens is up to the task. fftl=
5 www.ClevelandArt.org
Massoud Saidpour Curator of Performing Arts and Music
Tales of Persia
Naqqali, the ancient Persian art of storytelling, traces its roots back
more than 2,000 years
A special series of performances in early March offers
northern Ohioans the opportunity to experience one of
the world’s greatest and longest-lived performance tradi¬
tions. The Persian art of storytelling dates back to at
least the Parthian era (247 BC-AD 224) when minstrels
known as gosan established its basis. W. B. Henning,
an expert on Middle Iranian languages and literature,
notes a Parthian passage that identifies the role of these
ancient minstrels: “like a gosan, who proclaims the wor¬
thiness of kings and heroes of old.” Scholar Mary Boyce
cites the Greek historians Xenophon and Dinon, who
both speak of a strong tradition of professional minstrels
in Persia as far back as 580 BC.
The minstrels’ stories were not written down. It’s
likely that the ancient Persian calling passed orally from
parent to child, who at an early age would commit to
memory volumes of all types of verses and learn musical
modes and performance techniques—a tradition that
continues in many cultures, including those in India
and Iran. The stories were largely improvised, as ap¬
prentices developed a wealth of traditional vocabulary,
imagery, and themes to draw upon in the creation of new
compositions of their own. And the tradition was truly
multidisciplinary: for the Parthians, music, storytelling,
and poetry were so closely entwined that a man could
not be a professional poet without also being skilled in
instrumental and vocal music.
These storytellers played an important role not only
as entertainers but as oral historians and commenta¬
tors. Their art reached widely, to the nobility as well as
to commoners throughout villages and towns—from the
court to bawdy taverns. The storyteller, somewhat like
the “embedded” reporter of today, accompanied kings
and generals to war and recorded scenes through verse
and music, thus providing citizens with firsthand “news”
of the battlefront and leaving an oral history for genera¬
tions to come.
The minstrel tradition continued throughout the
Sassanian dynasty (224-651) —where the huniyagar,
like the Parthian gosan, was a poet, instrumentalist, and
singer all in one. Although the Sassanid tried to anni¬
hilate as much of the Parthian heritage as possible, the
huniyagar clearly inherited a body of traditional material
from the gosan on which he could improvise to suit new
cultural tastes. Native and foreign prose works com¬
posed for entertainment thrived in the Sassanid era. The
most famous native work is Hezar Afsan (One Thousand
Tales), which gave the world the heroine Scheherazade,
who through her imagination and evocative stories saves
her country from the murderous king Shahryar. Hezar
Afsan faded in history but became the kernel of One
Thousand and One Nights.
After the Arab conquest of Persia in AD 644, the
minstrel tradition again adapted to a new regime. Sog-
dian murals painted circa 700 near Samarqand depict
legendary Persian heroes such as Rustam and Siavash,
evidence of the continuation of these legends under Arab
rule. The durability of the minstrel tradition is seen also
in Rudaki, the greatest post-conquest poet, who in the
ninth century still composed in the old improvisatory
style of Sassanid huniyagars. Further evidence is in Al-
Narshakhi’s tenth-century History of Bukhara, which
vividly describes a ritualistic performance by minstrels
in commemoration of the legendary Persian prince
MORSHED VALIOLLAH TORABI
PERFORMANCES
The Art of
Naqqali: Master
Storytellers of
Iran Wednesday
and Frida y, March
6 anf^|:30;
SatU rcnTf *and
Sunday, March
9 and 10, 2:30.
$45
LECTURES
Art of Storytell¬
ing in Iran Friday,
March 8, 6:00,
Stephen Blum;
Saturday, March
9,1:00, Davood
Fathali Beygy.
Free
Morshed (an honorific title meaning master or guide)
Valiollah Torabi is one of the last remaining masters of
naqqali. Fie grew up in a family of prominent Iranian perform¬
ers and from his father, uncle, and older brothers learned
traditional performance skills: singing, role-playing, horse¬
back riding, and martial arts such as sword fighting and
wrestling. As a youth he gravitated toward naqqali and be¬
gan studying with Dr. Shoghi, memorizing stories from the
Shahnameh and other literary sources. He simultaneously
attended the zoorkhaneh (house of ancient Persian martial
arts), mastering its practices over a 25-year span.
Torabi reenacts stories not just from the Shahnameh but
from multiple written and oral sources. Through peerless sign,
gesture, mime, and vocal inflection, much like the ancient
gosan, he immerses audiences in the magical world of legend¬
ary figures. In his first U.S. tour, organized by the Cleveland
Museum of Art in celebration of the reopening of its Islamic
gallery, he is joined by Dr. Davood Fathali Beygy (director and
scholar) and Mohammad Mokhtari on percussion and voice.
A typical naqqali performance lasts about 90 minutes.
The naqqal begins with a prelude—usually a sung salutation
to the Divine Being and a bit of moral or spiritual teaching in
the form of recitation from classical Persian poets. The main
story that follows is serialized, a new segment told at each
session. In 2011, UNESCO placed naqqali on its list of “Intan¬
gible Cultural Heritage in Need of Urgent Safeguarding.”
LEFT
Rustam’s Seventh
Course: He Kills
the White Div
1520s-40s.
Illustration from
“Tahmasp Shahna¬
meh” by Ferdowsf
(folio 124r).
Attributed to Mir
Musavvir (Iranian).
Opaque watercolor,
ink, gold, and silver
on paper, 47.5 x
32.2 cm. Leonard
C. Hanna Jr. Fund
1988.96.a
Siavash. Al-Narshakhi cites this as an ancient rite
whose origin dates back more than 3,000 years.
The best-known literary work of Persian history
and legends is Ferdowsl’s epic Shahnameh (Book of
Kings), written about AD 1000 in 60,000 couplets. The
poet toiled 30 years to compile and compose it, drawing
on traditional sources. In A Literary History of Persia,
Edward Browne writes that a complete and corrected
Pahlavi text of the entire epic was compiled during the
reign of the last Sassanid king, Yazdigird III (d. 651).
Browne notes that this same Pahlavi text—known as
Khudaynameh —was translated into Arabic in the
eighth century by Ibn Moqaffa’. From this Arabic trans¬
lation a modern Persian prose version was made in 957,
and there’s no doubt that later poets based their rendi¬
tions on this edition—including Daqiqi (932-972), who
versified 1,000 lines before his life was cut short by an
assassin. FerdowsI then picked up the task.
FerdowsI was a dehqan, or member of the
landed nobility, from Khorasan in northeastern Iran.
The dehqans were preservers of Old Persia civilization,
customs, and culture, including the national legends.
Ferdowsl’s family, according to Shahnameh scholar
Khaleghi-Motlagh, accepted Islam mainly to preserve
their social standing. Meanwhile, they dedicated them¬
selves to transmitting the culture of their forebears.
7 www.ClevelandArt.org
FerdowsI spent a substantial portion of his personal
wealth and health in search of the early legends and
history, in oral and written forms alike. His resulting
massive composition has reached us almost intact, and
serves as much of the source material for today’s story¬
tellers or naqqals.
To Khaleghi-Motlagh, the written sources make it
clear that FerdowsI did not reinvent the legends but rath¬
er continued an extant oral and written tradition, in both
his epic style and narrative method. As such, FerdowsI is
a faithful transmitter of the voices of the Parthian gosan
and the Sassanid huniyagar. The great naqqals of today
carry on this extraordinary heritage, wrapping them¬
selves in the spirit of the ancient legends through invis¬
ible threads that stretch beyond history and time, (ft1=
Caroline Guscott Communications Manager
(Art) Historic Grant
Case Western Reserve University and the Cleveland Museum of Art
receive a $500,000 grant from the Andrew W. Mellon Foundation
L ast November, the museum and Case Western Reserve
University announced the award of two grants total¬
ing $500,000 from the Andrew W. Mellon Foundation
to support the launch of the redesigned Joint Doctoral
Program in Art History. The highly selective, object-ori¬
ented program features firsthand study of the museum’s
comprehensive collections under the guidance of Case
Western Reserve faculty and museum staff members.
Founded in 1967, the CWRU-CMA Graduate Art
History Programs have trained students in traditional
and theoretically based art historical approaches taught
by a diverse array of faculty, including museum curators.
Many classes are held at the museum, where students
have access to the comprehensive permanent collection,
and students enjoy access to the museum’s Ingalls Li¬
brary and Archives, the third largest art research library
in the United States, and to the resources of CWRU’s
Kelvin Smith Library.
Team Leaders
Caroline Goeser
and Griff Mann of
the museum flank
Catherine Scallen
of CWRU.
“When the Case Western Reserve University doc¬
toral program in art history was founded 45 years ago,
it was a leader in promoting a working relationship be¬
tween a major metropolitan art museum and a university
art history department,” says Catherine Scallen, chair
of the university’s department of art history. “Our
collaboration with the Cleveland Museum of Art will
become even stronger now.”
Caroline Goeser, the museum’s director of education
and interpretation, agrees. “The CWRU-CMA doctoral
program is unique. Students have as their research
laboratory one of the best collections of world art, while
studying at a top-tier research institution. The Mellon
Foundation grant allows the program to flourish and
draw the very best students to Cleveland.”
The funds from the grant will be used for pre- and
postdoctoral fellowships as well as compensation for
museum staff members to engage in additional teaching
and mentoring activities. The grant will also support two
students with $25,000 stipends for the five-year duration
of the program; Case Western Reserve will provide a full
tuition package to those two students as well as a third
student at the same level.
The newly redesigned PhD program will offer stu¬
dents an immersive, object-oriented experience based
on the study of individual works of art. One foundation
course, taught by a conservator, will enable students to
gain in-depth knowledge about materials, techniques,
and technical examination of works of art. After two
years of coursework, students in the doctoral program
will complete a one-year internship at the Cleveland
Museum of Art. The museum experience will include
professional training in many aspects of curatorial prac¬
tice, including exhibition, interpretation, and acquisi¬
tion-related research. Collections-based seminars also
will enable a teacher and class to plan and research an
exhibition at the museum.
In January, the museum and CWRU announced the
joint purchase of the Cleveland Institute of Art Gund
Building property located at 11141 East Boulevard,
across the street from the museum’s east wing. The in¬
stitute sold the land as part of its Campus Unification
project, which will relocate and consolidate all of its op¬
erations to the Euclid-Mayfield triangle, expanding on its
existing Joseph McCullough Center “factory building”
where many studio functions are already located. The
purchase agreement among the three organizations calls
for the closing on the parcel of land to occur in 2015.
This collaborative action, with the museum and
CWRU each paying half the $9.2 million purchase
price, further cements the bonds between the two insti¬
tutions and ensures that this key piece of real estate—
located at the heart of University Circle and flanked by
the CWRU campus on three sides and the museum on
the fourth—will find a long-term use that mutually ben¬
efits our organizations and facilitates collaboration for
decades to come. Ittl=
8
March/April 2013
ON THE ROAD
O
CJ
Berthe Morisot c. 1873. Edouard Manet
(French, 1832-1883). Oil on fabric; 74 x
60 cm. Bequest of Leonard C. Hanna Jr.
1958.34. If you want to see it between now
and April 14, you have to go to London.
See works from Cleveland’s collection
in exhibitions around the world
Wari: Lords of the Ancient Andes,
including 12 Peruvian works from
Cleveland’s collection, is at the Ft.
Lauderdale Museum of Art through
May 19, then travels to the Kimbell Art
Museum, Fort Worth, June 16 to Sep¬
tember 8.
The Springtime of the Renaissance:
Sculpture and the Arts in Florence,
1400-1460, at the Palazzo Strozzi,
Florence, Italy, March 21 to August 18,
then at the Musee du Louvre, Paris,
September 23 to January 6, includes
Mino da Fiesole’s monumental relief
sculpture Julius Caesar.
Manet: From Portrait to Tableau, Royal
Academy of Arts, London, through
April 14, features Edouard Manet’s
portrait of Berthe Morisot.
The museum owns George Bellows’s
greatest painting, Stag at Sharkey’s,
and has loaned it to the exhibition
George Bellows (1882-1925) at the
Royal Academy of Arts, London,
March 16-June 9.
Inventing the Modern World: Deco¬
rative Arts at the World’s Fairs,
1851-1959, New Orleans Museum of
Art, April 14-August 19; Mint Museum
of Art, Charlotte, September 21, 2013-
January 19, 2014. Includes CMA works
by Alexis Falize, the Sevres factory,
the firm of Ferdinand Barbedienne,
Thorvald Bindesboll, and Jules-
Constant Peyre.
Impressionism, Fashion, and Moder¬
nity, at the Metropolitan Museum of
Art through May 27, then at the Art
Institute of Chicago from June 29 to
September 22, includes Jacques-
Joseph Tissot’s Seaside (July: Speci¬
men of a Portrait) and Gustave
Caillebotte’s Portrait of a Man.
PERSONAL FAVORITE
Rock Star Dr.
David Saja, cura¬
tor of mineralogy
at the Cleveland
Museum of Natural
History, stands
with a group of
three 18th-century
French tables with
distinctive stone
tops in gallery 216.
David Saja, geologist University Circle
is such a fantastic cultural center, with
CMA and CMNH right across from each
other. It gives us a lot of opportunities
to show the interwoven nature of sci¬
ence and art. For example, when you
look at these three tables, there is an
incredible story told by the rock in their
polished tops. On the left is a conglom¬
erate that contains rounded pebbles
(the fragments of other rocks), on the
right is a sedimentary breccia that has
beautiful angular fragments, and in the
center is a tectonic breccia.
These tabletops are not true mar¬
bles; they are sedimentary rocks of a
similar carbonate composition which
the countertop industry referred to
generically as “marbles,” a metamor-
phic rock. True marbles are created
under tremendous temperatures and
pressures that recrystallize the miner¬
als and smush any original shapes like
fossils or the pretty pebbles you see.
The fragments in the tabletops to
the right and left are pieces of other
sedimentary rocks that were originally
deposited in the bottom of an ocean.
Over millions of years, these rocks
were lifted up into the sky as plate
tectonics pushed a mountain up out of
the earth. Exposed to weathering, the
rocks were broken down into pieces
that were washed down from a moun¬
tain and came to rest in the bottom
of a river where they were cemented
together to form a natural concrete. So
if you see a gray pebble, it originally
came from an entire layer of gray rock,
and the tan material came from a tan
layer. The colors in these tabletops are
a product of a blending of all the colors
of the rock layers that contributed frag¬
ments. The farther a fragment tumbles
in its travels, the rounder it becomes,
so the fragments in the table on the
left traveled far from their source.
The tabletop in the center started out
as sedimentary limestone that was then
shattered by fault movement during an
earthquake. As it was broken up into
many millions of pieces, fluids flowing
through the earth seeped into the cracks
and cemented it back together with the
white mineral calcite. The white lines
going from the left to right reveal to me
the direction of stresses, the tectonic
forces that crushed the rock in a tale
about continental collision.
It makes me very happy that these art¬
ists chose to use these materials despite
their being softer and more brittle than
marble. I walk through the galleries and
see many beautifully detailed sculptures
carved out of pure white Carrara marble,
but when I came by and saw these, it was
like “Ah! Something different!... Some¬
thing geologically amazing.”
C. Griffith Mann Deputy Director and Chief Curator
Acquisitions 2012
Highlights of works that came into the collection between January
and December of last year
I n the past three articles highlighting acquisitions at year
end, we outlined the process through which works of art
enter the collection, considered the criteria that guide
the museum’s acquisition work, and reviewed the sourc¬
es from which the museum has obtained works of art.
Looking back on the acquisitions made during 2012,
several additional themes emerge as noteworthy.
As in the past, curators engaged in the major re-
installation work have been active not only in planning
the display of the collections in their care, but have
also identified new work that would further enhance
our newly installed galleries. This year, the major per¬
manent collection reinstallation projects focused on the
staged by the museum. A work acquired by Jane
Glaubinger, William H. Johnson’s Jitterbug III , entered
the collection just in time to join the William H. Johnson
exhibition, which inaugurated the Kelvin and Eleanor
Smith Exhibition Gallery. Works by Jared French, one
of the preeminent magic realist painters, and Francis
Towne, a master of mountain scenery, will feature promi¬
nently in upcoming exhibitions originated by curators
Mark Cole and Heather Lemonedes.
In other areas of the collection, such as ancient art,
acquisitions occur with less frequency. All acquisitions
require painstaking research and testify to the museum’s
ongoing commitment to add works of major cultural and
museum’s late medieval, Renaissance, and Islamic hold¬
ings. Stephen Fliegel, Jon Seydl, and Louise Mackie are
especially proud to have made a number of purchases
that further distinguish the collections now on view in
these galleries. The building project has shaped our ac¬
quisition work in other areas as well. Reto Thiiring, who
arrived in May 2012, has worked closely on the com¬
mission of a work of outdoor sculpture by Jim Hodges
that will eventually take its place in the Kohl Sculpture
Garden on the north lawn of the museum facing Wade
Oval. A major gift from the family of Sol LeWitt in honor
of Agnes Gund has also taken its place along a corridor
that overlooks Wade Oval and provides access to the
museum’s contemporary art galleries, which were rein¬
stalled for the second time in 2012.
A second thrust of acquisition work in 2012 focused
on the museum’s exhibition activities, where notable
purchases will take center stage in shows developed or
10 March/April 2013
Wall Drawing
590A1989. Sol
LeWitt (Ameri¬
can, 1928-2007).
Color ink wash;
543.6x1,240.8 cm
(overall). Gift of
the LeWitt Family
in honor of Agnes
Gund 2012.66
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Three Continents
and Two Thousand
Years A contem¬
porary Chinese
scroll painting by Ji
Yun-fei, the ancient
Roman sculpture
Drusus Minor, and
a Sol LeWitt wall
drawing seen from
outside
The scroll is read
from right to left,
top to bottom (see
detail images on
page 16).
aesthetic significance across the full scope of its historic
collections. The year 2012 was especially notable for
purchases that strengthen the museum’s holdings of Ro¬
man and Pre-Columbian art. Indeed, we are extremely
proud to announce that Apollo magazine celebrated the
acquisition of the Portrait Head of Drusus Minor by
Michael Bennett as one of the top ten acquisitions by
any museum in 2012. This honor is the third such
recognition that a Cleveland Museum of Art acquisition
has received since 2009, a laudable achievement. The
Maya objects highlighted by Susan Bergh will have
pride of place in the museum’s Pre-Columbian galleries
when they open in June 2013. In the realm of contempo¬
rary art, acquisitions of works by living artists speak di¬
rectly to the museum’s historical collections of Chinese
and Islamic art, where the work of artists like Ji Yun-fei
(Chinese, b. 1963) and Afruz Amigi (Iranian, b. 1974)
reference traditional art-making traditions. Barbara
Tannenbaum’s acquisitions of new photography strength¬
en our representation of photo-based work from the late
20th and early 21st century.
Finally, we are especially proud to celebrate the
generosity of donors who have given major works to the
collection, and the long-term stewardship that makes
these gifts possible. The gift of a stunning Newport desk
by Harvey Buchanan, in memory of his late wife Penny
and her mother Dorothy Draper, is one of the most notable
donations of a single work to the collection in many years,
and will serve as an anchor for the museum’s holdings of
early American decorative arts. Asian art and photog¬
raphy also benefited enormously from major gifts to the
collection. In the selections that follow, the curators re¬
sponsible for acquisitions made in 2012 highlight some of
the most notable new additions to the collection. We look
forward to sharing these works with you in the museum’s
galleries and upcoming exhibitions. (ftl=
11
www.ClevelandArt.org
Jane Glaubinger Curator of Prints
The Calumny of Apelles (after Luca Penni), 1560. Giorgio Ghisi
(Italian, 1520-1582). Engraving; 36.9 x 31.9 cm. Purchase from the
J. H.Wade Fund 2012.8
Jitterbugs III about 1941. William H. Johnson (American, 1901-
1970). Screenprint with hand-coloring; 27.9 x 40.6 cm. The
Severance and Greta Millikin Purchase Fund 2012.9.a
n the 16th century, an age before photography, Europeans
were acquainted with great but inaccessible works of
art only through prints. Graphics, relatively inexpensive,
spread aesthetic ideas and allowed many people to own
original works of art. Print publishers across the Continent
flourished. A superb draftsman and artist like Giorgio Ghisi,
however, did not merely copy a drawing or a painting onto
a copper plate, but interpreted it, appropriately transform¬
ing the subject from one medium into another.
Ghisi engraved The Calumny of Apelles after a drawing
by Luca Penni (Italian, 1500/04-1557). A popular subject
in Renaissance Italy, the work follows the description of a
painting executed by the ancient Greek artist Apelles. The
allegory is depicted by a man with large ears; flanked by
two female figures, Ignorance and Suspicion, he motions
toward Calumny, the woman dragging by the hair a young
man who protests his innocence. The clarity and precision
of the scene is due to Ghisi’s skill as an engraver. Using a
linear technique to achieve pictorial results, he manipulated
light and shade to model the sculptural figures in a wide
range of tones. The full effects of the rich shadows and
glowing highlights can only be fully appreciated in early
brilliant impressions like this one.
William FI. Johnson, who grew up in Florence,
South Carolina, spent a decade in Europe painting
expressionist landscapes and still lifes. Returning to
New York in 1938, he joined the Works Progress Admin¬
istration’s Federal Art Project and was assigned to teach
at the Flarlem Community Art Center. Meeting important
African American artists like Jacob Lawrence and draw¬
ing African sculptures and African American models
radically changed his work. “I want to paint Negro people
in their natural environment,” Johnson wrote in 1941. “I
wish to study my people thoroughly.” Influenced by the
power and spirituality of folk art, Johnson developed a
style of simplified, geometric shapes executed in intense,
flat color.
Johnson’s work explored the daily life of southern
African Americans, religious subjects, and the militariza¬
tion of World War II. Inspired by jazz and clubs in Flarlem
like the Savoy Ballroom, Johnson also depicted couples
doing the jitterbug, capturing the vibrancy, energy, joy,
and passion of the dancers. Jitterbugs III, where the
scene is constructed of jigsaw-like shapes moving to a
lively rhythm, is a prime example of the artist’s most
desirable motif.
12
March/April 2013
Michael Bennett Curator of Greek and Roman Art
his monumental marble portrait head of Drusus Minor (13
bc-ad 23) is the most accomplished image of the son of the
emperor Tiberius among the approximately 30 portraits of
the Julio-Claudian prince to have survived from antiquity.
Such a judgment is founded on several qualitative factors:
the powerful refinement and sensitivity of the carving, the
excellent state of preservation, and the monumental scale.
The Julio-Claudian dynasty (ca. 27 bc-ad 68 ) inaugurated
the Roman Imperial Period beginning with Augustus, and
included the reigns of Tiberius, Caligula, Claudius, and
Nero. The portrait was carved during a momentous transi¬
tional period in world history, roughly contemporary with
the ministry of Jesus Christ.
What sets the portrait apart is the way it combines the
best aspects of Classical and Hellenistic Greek art with stylis¬
tic traits meant to place the portrait within a dynastic lineage
descending from Augustus, the first Roman emperor. The
masterful carving describes the features of Drusus Minor by
striking an artful balance between the emotional charge of
Hellenistic sculpture and the cool idealization of earlier Greek
classical prototypes, selectively employed to convey an en¬
nobled likeness of the emperor’s son and heir. An impression
of divinely sanctioned power held in reserve, amplified by
the monumental scale, gives the portrait its brooding pres¬
ence. If standing, the figure would have loomed seven to
eight feet in height. Traces of paint remind us that the sculp¬
ture originally was painted to enhance the illusion of a living
person. Specific facial features common to both large por¬
trait sculptures and coins securely identify this marble por¬
trait as Drusus Minor: the undulating contours of the broad
forehead, the pronounced ridges of the brow, the large
hooked nose and thin lips (the lower withdrawn), the jutting
chin, the strong neck, and the full head of hair combed for¬
ward in the manner popularized by Augustus.
The idealized nobility of the portrait is somewhat at odds
with the cruel reality of the subject. According to first- and
second-century writers, Drusus was prone to fits of rage,
made worse by his heavy drinking. He was said to have
been in the habit of eating bitter almonds as a prophylactic
against hangovers. Most disturbing to modern sensibilities
was the way he relished gladiatorial blood sport with a pas¬
sion that alarmed even his father. He was an able military
commander, much liked by the legionnaires under his com¬
mand, who named a particular type of short sword after him,
calling it the “Drusian.” His star ascended quickly. Second in
line to the imperial throne after Germanicus, he married Ger-
manicus’s sister Livilla. In AD 14 he delivered a funeral oration
for Augustus from the rostra in the Roman Forum despite
being a less than gripping public speaker. The following year
he was appointed to the high office of consul. After a suc¬
cessful military career and the death of Germanicus, he was
in direct line to become emperor but died in ad 23 at age 34,
allegedly poisoned by his own wife, who was having an affair
with Sejanus, a general and personal rival.
Portrait Head
of Drusus Minor
probably after ad
23. Roman, North
Africa. Marble; H.
35 cm. Leonard C.
Hanna Jr. Fund
2012.29
Sonya Rhie Quintanilla George P. Bickford Curator of
Indian and Southeast Asian Art
Standing Yakshi ca.
early 2nd century.
Mathura, Northern
India, Kushan period.
Spotted red sand¬
stone; 74.5 x 30 x
15 cm. Bequest of
Jeptha H. Wade III
in honor of Emily V.
Wade 2012.19
uring the early centuries of Buddhist art in India, carved
stone railings demarcated sacred spaces from the ordi¬
nary world. The railings were sculpted with imagery that
included worshipers, divinities, and scenes from Buddhist
stories. This female devotee is depicted in the process of
approaching the place of worship carrying a covered wick¬
er tray filled with fresh flower garlands.
Her form exemplifies the ideal of the young mother with
breasts full of milk and broad hips traversed by a beaded
girdle that secures her lower garment. The clasps of the
girdle have a vegetal ornament called the srivatsa, or the
“baby of the goddess of good fortune.” The pearl strings
dangling from the center of the rosette point directly to her
genitalia, further emphasizing her nature as a fertile mother
capable of generating life.
Life-affirming imagery dominated the sculptural pro¬
grams of gateways and
exterior railposts of
early Buddhist sites, for
such imagery was con¬
sidered cleansing, purify¬
ing, and auspicious. When
devotees passed these images
as they entered the sacred space,
they were metaphorically cleansed,
as though they had passed through
pure water to wash away the dust of
the ordinary world in preparation for
their devotions in the sanctuary.
The powerful legs have been
carved to indicate that her weight
rests on her right leg, and her up¬
per body bends to counterbalance the
movement. This sense of dynamism in the
stance, the masterful transformation of
stone into the suppleness of youthful vo¬
luptuous flesh barely interrupted by cloth¬
ing, and touches of naturalism as seen in
the slipping of the large bangle down the
spiral cuff, are all stylistic characteristics of
female figures made during the early sec¬
ond century.
If an animal or subjugated dwarf-like
figure had originally been carved beneath
her feet or a tree behind her back, this
figure could be considered to be a divinity,
such as a Yakshi. Yakshis are the female
personifications of sap, the water thought
to contain the essence of life for a plant
or tree. They were local nature divinities
who were propitiated for the concep¬
tion, safe birth, and protection of
children. Tradition holds that Yakshis
manifested themselves in human
form only when in the presence of
one greater than themselves. A
Yakshi’s human presence on a
Timur Distributes
Gifts from His Grand¬
son, the Prince of
Multan From the
Zafarnama (“Book of
Victories”), 1598-1600.
Sravana (Indian, ac¬
tive ca. 1560-1600).
Opaque watercolor,
ink, and gold on paper;
14.7 x 9.8 cm (image).
Gift of Dr. Norman
Zaworski 2012.301
Buddhist monument would have signaled to visitors that the
Buddha was revered even by the Yakshis. Potential converts
to Buddhism would have recognized the exceptional form
of a Yakshi and understood that the Buddha to whom she
brings garlands for worship must be even greater and wor¬
thier of worship than she.
The folio above is from an illustrated manuscript of the
Zafarnama, or “Book of Victories,” written in Persian by
Sharaf al-Din Ali Yazdi in 1425. It relates the history of the
reign of Timur—known as Tamerlane in medieval European
sources—who ruled much of the Near East and Central Asia
from 1370 to 1405. Timur’s descendant, Akbar, the third
Mughal emperor of India (r. 1556-1605), commissioned this
copy of the text toward the end of his rule, when his inter¬
ests turned away from adventure stories to Mughal dynas¬
tic histories.
In this painting Timur and his entourage have camped
40 miles outside the city of Multan, in present-day Paki¬
stan, where his grandson, Prince Pir Muhammad, ruled the
region. The prince orchestrated a feast in his grandfather’s
honor and presented him with costly gifts, which Timur, in
turn, distributed among his followers in a gesture of power
and magnanimity. The text lists the valuable items, which
included textiles, vessels of gold and silver, and Arabian
horses in such quantities that Timur’s secretaries were
“busy for two days registering all those goods.”
Remarkably, the artist’s name has been written at the
bottom of this page: ‘amalesrun, or “made by Sravana.” This
is significant for a number of reasons. The earliest painting
ascribed to this artist dates to about 1560 and is on the recto
of folio 67 in the Tutinama of the Cleveland Museum of Art,
which was also commissioned by Emperor Akbar. Until now,
the only other known painting by Sravana was made around
1580, leading scholars to conclude that he was no longer ac¬
tive after that time, except as a colorist. This painting, never
published before, was painted entirely by him in the late
1590s, showing that he achieved master status and was ac¬
tive for about 40 years in the imperial atelier. Thanks to this
recent acquisition, Cleveland now houses the earliest and
latest known paintings by this imperial court artist—a rare
circumstance in the field of Indian painting.
Barbara Tannenbaum Curator of Photography
Peter Beard and Friends, East Hampton,
August 1976 1976. Larry Fink (American,
b. 1941). Gelatin silver print; 24.4 x 25 cm.
Gift of Mark Schwartz and Bettina Katz in
honor of Barbara Tannenbaum
Pat Sabatine’s Eighth Birthday Party,
April 1977 1977. Larry Fink (American, b.
1941). Gelatin silver print; 24.6 x 25 cm.
Gift of Mark Schwartz and Bettina Katz in
honor of Barbara Tannenbaum
My Left Hand
(with Young Mao)
2004. Sheng Qi
(Chinese, b. 1965).
Chromogenic print;
99.1 x 68.6 cm.
Purchase from the
J. H. Wade Fund
2012.102
arry Fink’s “Social Graces” series addresses the power of
the image—not just the photographic representation but
also the self that we project, or try to assume, in social situ¬
ations. The series juxtaposes two social settings: New York
City high society events and the familial celebrations held
by the artist’s working-class neighbors in rural Pennsylva¬
nia. Mark Schwartz and Bettina Katz generously donated a
complete set of the 92 photographs in the artist’s expanded
2001 version of “Social Graces.”
Photographing the New York events, Fink writes, was
a process “fueled by curiosity and my rage against the
privileged class—its abuses ... and unfulfilled lives” that
made him aware “of the camera’s prying aggression.” Fie is
equally probing, but more sympathetic, in his documenta¬
tion of his neighbors’ birthday and graduation parties. As
unflattering as both sets of portraits can be, they nonethe¬
less resonate with empathy for the human failings that too
often surface on such occasions and replace our desired
image with a truer reflection of self.
In 1989 Sheng Qi participated in the famous Tiananmen
Square protests in Beijing, but fled when the tanks ap¬
proached. Finding himself unable to make art in the repres¬
sive atmosphere that ensued, Sheng decided to go into
exile. Before leaving, he cut off the little finger of his left
hand and buried it in a flower pot. The politically based but
highly personal performance signified that while his body
might be in Europe, his soul was still deeply rooted in China.
After ten years of self-imposed exile, Sheng returned to
China and began photographing his mutilated hand cup¬
ping personal, political, and historical images. The “Fland”
series, which reflects Sheng’s deep physical pain and emo¬
tional agony, has become an icon of the late-twentieth-cen-
tury Chinese Diaspora. This is one of 16 photo-based pieces
by four Chinese artist-photographers to enter the collec¬
tion in 2012. The works of Liu Zheng, Chen Ziagang, Zhang
Fluan, and Sheng Qi present a diversity of approaches char¬
acteristic of contemporary Chinese photography.
Scarred Chest is part of the “Branded” series, in which Flank
Willis Thomas added logos or subverted brand information
in images borrowed from advertisements. This provocative
37-year-old artist uses photography, video, and installation
to explore how history and culture are framed, who does
the framing, and how it influences our society.
The truncated view and lean muscularity of the larger-
than-life African American athlete in Scarred Chest evokes
classical Greek sculptures of athletes and heroes. Thomas’s
athlete has been repeatedly “branded” with the Nike
swoosh, suggesting that while today’s professional athletes
are heroicized, their bodies are traded as commodities in a
manner that recalls the African American slave trade. Is the
swoosh a burn scar or a tribal scarification, a mark of pos¬
session or a sign of pride and belonging?
Scarred Chest is one of five photographs and a video
by Thomas acquired by the museum in 2012. All will be on
view in an exhibition of his work at the museum and the
Transformer Station during the fall and winter of 2013-14.
Scarred Chest 2004. Flank Willis Thomas (American, b. 1976).
Digital chromogenic print; 152.4 x 101.6 cm. Purchase from the
J. H. Wade Fund 2012.59
15 www.ClevelandArt.org
Anita Chung Curator of Chinese Art
L
Last Days of
Village Wen
(details from begin¬
ning, middle, and
end), 2011. Ji Yun-fei
(Chinese, b. 1963).
Handscroll, ink and
color on paper; 34
x 1,400 cm. The
Severance and
Greta Millikin Pur¬
chase Fund 2012.99.
Complete scroll on
pages 10-11.
ast Days of Village Wen evokes the human experience of
migration. In a 14-meter-long handscroll, the contemporary
artist Ji Yun-fei skillfully adopts the traditional Chinese
painting format and uses fictional images and words for
storytelling. The scroll is among his finest and most spec¬
tacular work.
The painting begins with a quiet village reminiscent of a
place of retreat in classical Chinese painting. In a seemingly
timeless natural environment, villagers pack their belong¬
ings in preparation of a move. Away from their lands, they
struggle to eke out a meager existence. Those who sell
scraps on the streets are driven away by city officials; oth¬
ers appear as skeletons threatened by demonic figures,
monstrous beasts, and gigantic bugs. All are swept along in
a vortex of wind, drifting in an environment lacking gravity
or orientation. Following the painting is the artist’s colo¬
phon, which tells the story in his own words.
Ji’s painting is lyrical, metaphorical, and powerful, com¬
bining history, fantasy, and the grotesque to connect with
reality. The story is based on China’s South-North Water
Transfer Project, a controversial undertaking that calls for
water diversion from the Yangtze River in the south to drier
regions in the north. It has caused undesirable problems,
including environmental degradation and human migra¬
tion. “We risk losing ourselves even more, metaphysically,
as we become more and more disconnected with nature
and memory,” Ji says, alluding to the human cost of rapid
development. The artist creates a narrative inspired by
China’s rich cultural tradition, drawing from memories of
folktales and ghost stories. His imagery, both fanciful and
realistic, provides metaphors for reflection on human
conditions.
Here the Chinese handscroll serves to carry multiple
messages that relate to contemporary experiences and
welcome open interpretations. To Ji, the theme of migra¬
tion is relevant to many who leave home on sojourns to
different places. “I feel this is the contemporary story—
we all move around so much, we uproot ourselves and
go elsewhere,” he says. “It is a story that is repeated again
and again.”
16 March/April 2013
Susan E. Bergh Curator of Pre-Columbian and Native North American Art
Vessel with Battle
Scene about ad
600-900. Meso-
america, Maya,
Late Classic Period.
Ceramic and slip; H.
16.9 cm, Diam. 15.1
cm. John L. Sever¬
ance Fund 2012.32
T he Maya created one of Mesoamerica’s most famous art
styles, celebrated for its refined realism and the hiero¬
glyphic writing lavished on artworks of many kinds. Maya
art is above all a courtly art that, in both its imagery and
hieroglyphic writing, chronicles and glorifies the lives of
the royalty who governed independent city-states scat¬
tered across Guatemala’s rainforests and the Yucatan
Peninsula. These polities were not unified politically but
shared characteristics of culture. Together their fortunes
rose and fell, blossoming into an extraordinary period of
expansion and artistic achievement during the Late Classic
Period (ad 600-900). During this time, the Maya lived in a
crowded political landscape torn by rivalries in which elites
scrambled to gain advantage—including tribute—through
alliances and war.
The museum’s recently acquired Vessel with Battle Scene
commemorates the importance of such power struggles.
Likely used in a gift exchange that helped to cement an
important political relationship, the vessel depicts the
aftermath of a battle: the presentation of prisoners. A fron¬
tally posed lord turns to review a register of ten elegantly
drawn warriors, some humiliated and stripped of battle
regalia and others dressed in elaborate headgear and gar¬
ments that, in three cases, are made of a jaguar’s pelt. The
shirts may be padded with cotton to blunt the thrusts of
long spears, a basic Maya weapon that three of the war¬
riors brandish. The hieroglyphs encircling the rim form a
standard dedicatory statement that appears on many Maya
vessels. The glyph for cacao (chocolate) in the inscription
indicates that the vessel was used to drink an elite bever¬
age made of cacao beans. The vessel belongs to a group
of several similar vases painted by the same master artist
in the Nebaj region of Guatemala. The vessels, known as
the Fenton Group, portray a related series of events that
involved Kan Xib Ahaw (Lord Kan Xib), the frontal figure on
the museum’s vessel.
The museum also acquired another Maya object last
year: Figurine with Removable Headdress , which repre¬
sents a male, perhaps a warrior, who wears a spectacular
headdress in the shape of a zoomorphic head with gaping
mouth. A skeletal face, its jaw articulated, descends from
the headdress to fit as a mask over the lord’s face. The
figurine comes from the vicinity of Jaina Island near the
western coast of the Yucatan peninsula, where thousands
of Maya figurines have been recovered from tombs.
Figurine with Removable Headdress about ad 600-900.
Mesoamerica, Maya, Late Classic Period. Ceramic and slip;
H. 21 cm. John L. Severance Fund 2012.33a-c
17 www.ClevelandArt.org
Heather Lemonedes Curator of Drawings
Waterfall between Chiavenna and Mount Splugen 1784. Francis
Towne (British, 1739-1816). Inscribed, lower left in pen and brown
ink: Francis Towne / deli. 1784. Watercolor with graphite, point of
brush, and selective glazing on blued white antique laid paper;
47.3 x 56.8 cm. Purchase from the J. H. Wade Fund 2012.35
Apollo with Erato and Cupid 1595. Johann Kellerthaler (German,
1560/62-1611). Inscribed lower left in brown ink: Johan Kellerdaler
aurifaber 1595; lower right in brown ink: Zu Breslave. Pen and
black ink and brown wash heightened with white gouache on laid
paper; 19.1 x 15 cm. Purchase from the J. H. Wade Fund 2012.98
O ver the past few years the museum has assessed its col¬
lection of British drawings, identifying underappreciated
masterworks and embarking on a campaign of strategic
acquisitions. This monumental Swiss landscape by Francis
Towne brings to the collection a highly finished example
of the artist’s distinctive style, characterized by elegant
simplicity. Towne made only one trip to the Continent and
spent a year painting the architectural wonders of Rome
and its beguiling environs. On the journey back to England,
he traveled over the Alps, visited the Italian Lakes, and
crossed over the Splugen Pass into Switzerland, recording
the journey in sketchbooks. Towne’s alpine views have been
described as “unquestionably among the greatest by any
18th-century artist of mountain scenery.” In this watercolor
based on sketches made en plein air, he confronted the
monumental forms of the cliffs, choosing neither to subdue
them into the picturesque nor to etherealize them. Rather,
he rendered the great masses of rock, ice, and snow in styl¬
ized shapes, irresistibly appealing to a 21st-century sensibil¬
ity. Against the earth tones of the brooding cliffs, the crash
of the waterfall is like a white explosion, arching diagonally
across the composition.
Johann Kellerthaler worked as a draftsman, sculptor, and
engraver, but was most active as a goldsmith known for
his silver reliefs made for the Saxon court of his native
Dresden. Kellerthaler’s drawings are very rare. Fewer than
20 are known today, each one a finished work of art, clear¬
ly signed and sometimes annotated with an indication of
place and date. The inscription aurifaber (goldsmith) iden¬
tifies Kellerthaler’s profession; the annotation Zu Breslave
indicates that the work was made in Breslau, probably as
part of a craftsman’s journey.
The drawing’s subject is classical, depicting Apollo—the
god of music, poetry, and prophecy—with his attribute,
the lyre. Fie is accompanied by one of the nine muses,
Erato, the muse of lyric poetry. Because of her association
with love poetry, Erato frequently was depicted, as she is
here, with the youngest of the gods, Cupid, the mischie¬
vous god of love.
Kellerthaler’s style combined the refined grace of inter¬
national Mannerism with the bold angularity more typi¬
cal of German draftsmanship—expressed in this drawing
by the elegant figures’ elongated limbs framed against
bold cross-hatching. The juxtaposition of smooth, gleam¬
ing nude bodies with a densely ornamented background
echoes Kellerthaler’s experience as a goldsmith. The ac¬
quisition of this rare sheet brings a quintessential example
of Mannerist draftsmanship to the collection. In terms of
rarity, beauty, and condition, Apollo with Erato and Cupid
exemplifies “Cleveland quality.”
18
March/April 2013
Jon L. Seydl The Paul J. and Edith Ingalls Vignos Jr. Curator of European Painting and Sculpture, 1500-1800
n December, one of the most extraordinary acquisitions of
the past year debuted in the newly installed Renaissance
galleries, anchoring the section devoted to portraiture.
Though often overlooked today, carved gems stood among
the most important and characteristic art forms of the Re¬
naissance, perceived then, as now, as connecting directly
with the ancient Roman art of gem carving. Our work would
have been prized in the context of a learned, courtly cul¬
ture, tied to a Renaissance art of conversation, where both
ancient and modern gems were hotly pursued by princely
and papal collectors such as the Medici and the Gonzaga.
While at times worn as jewelry, these objects were more
often contemplated and discussed among like-minded col¬
lectors and scholars. They are thus archetypal High Renais¬
sance objects.
Our cameo is one of only three known works signed by
Alessandro Cesati, one of the most significant practitioners
of gem carving. Philip II, king of Spain, appears in profile,
clad in armor, with the Order of the Golden Fleece around
his neck. Cesati’s remarkably precise and varied cutting
describes the texture of cloth, metal, skin, and hair with as¬
tonishing precision, presenting the king’s physiognomy with
striking naturalism—complete with receding hairline and
prominent chin—as well as conveying his strong character.
Signed on the shoulder drape with the Greek letters AE-,
an abbreviation for AAESANAPOE EEIOIEI (Alexander
made this), this work also retains what is likely its original
enameled setting, an uncommon survival.
Cameo carving, in which the subject emerges in relief
from the surface, is unforgiving, especially in a transparent
stone where the cuts are essentially uncorrectable. Citrine,
a yellow quartz, is common today, owing to vast South
American sources, but rarely seen in the early modern
period, and—significantly—was never used in antiquity.
This atypical citrine has no inclusions; it is perfectly clear
and evenly colored. Citrine historically came from the Horn
of Africa. However, new mines had just been opened in
Uruguay during the 1550s, and this rock may have come
from that New World source, a brand-new marvel of
natural history linked to the discovery and exploitation of
South American resources central to Philip M’s reign.
Alessandro Cesati came from Cyprus—hence the Greek
signature—but moved to Italy, becoming one of the most
significant Renaissance medalists and gem carvers. The
biographer Giorgio Vasari described Cesati’s gems such
that “nothing better could be imagined” and recorded
Michelangelo’s acclaim for one of Cesati’s papal medals
as the summit of the medallic arts. Beyond their role as
critical elements in Renaissance humanist culture, carved
gems were luxury arts of the highest order. They served as
diplomatic gifts and played a prominent role at the Span¬
ish court, where numerous portraits show the royal family
holding cameos of Philip II. The provenance is also illustri¬
ous, in both of the most important post-Renaissance gem
collections: the 2nd Earl of Arundel in the 17th century and
the 3rd Duke of Marlborough in the 18th.
8
A
ctual size
Portrait of Philip II, King of Spain mid-1550s. Alessandro Cesati
(Cypriot, active Italy, before 1538-after 1564). Citrine, mounted in
a gold and enamel pendant; cameo 3.2 x 2.5 cm; pendant 4.3 x
2.8 cm. By exchange: Bequests of Mrs. Severance A. Millikin and
John L. Severance; Dudley P. Allen Fund; Gift of Carrie Moss Halle
in memory of Salmon Portland Halle; Gift of S. Livingstone Mather,
Constance Mather Bishop, Philip R. Mather, Katherine Hoyt Cross,
and Katherine Mather McLean in accordance with the wishes of
Samuel Mather; Gift of Mr. and Mrs. Severance A. Millikin; and the
Elisabeth Severance Prentiss Collection; and Sundry Purchase
Fund 2012.53
19
www.ClevelandArt.org
Stephen N. Fliegel Curator of Medieval Art
Pair of Wheel-lock
Petronel Pistols
about 1630. Georg
Kurland (Silesian,
Teschen, active
1595-1632). Steel
with gilding, walnut
inlaid with ivory,
bone, and mother-
of-pearl; L. 70.5
cm. Dudley P. Allen
Fund 2012.97.1-2
his sculpture belongs to a group commonly known to art
history as Sedes Sapientiae (the Throne of Wisdom). The
subject embodies a complex and core Christian doctrine
of the Virgin’s role in the Incarnation and ultimately in the
redemption of humankind. Mary sits frontally and hierati-
cally on a throne, her gaze toward the beholder. Just as she
is seated on a throne, she in turn becomes the throne to the
Christ Child, thus symbolizing her role in giving birth not
only to the human Jesus, but also to the divine Christ. The
Incarnation gave Mary a unique role as principal mediator
between heaven and earth, and between God and human¬
kind. As a result, her image proliferated, especially after the
12th century, a period of surging interest in Mary’s life and
increased devotions to her person and images.
Sculptures of the Throne of Wisdom were once abundant
across Europe during the 12th and 13th centuries, especially
in France. Representations in wood generally have not
survived well; some 170 have been documented. Flowever,
this newly discovered sculpture belongs to a much smaller
and elite group produced in the Auvergne region of central
France during the second half of the 12th century. These
“Auvergne” Sedes Sapientiae, estimated to number only
about 25 or 30, are characterized by softer sculptural quali¬
ties and linear, calligraphic draperies which form beauti¬
ful swirls and contours. This sculpture, though lacking its
throne and lower extremities, presents a powerful and
beautiful example of these Auvergne Virgins in Majesty.
All surviving sculptures are smaller than life-size. The small
wooden Auvergne sedes figures were intentionally mobile,
and evidence suggests that they were frequently carried
within churches and through town streets on Marian feast
days. Their removable heads allowed “dressing” them in
costumes for such processions. The sculpture’s upper por¬
tions have survived especially well. With its visual integrity
intact, it provides an important addition to the museum’s
small collection of Romanesque wood sculpture.
Virgin and Child
in Majesty (Sedes
Sapientiae) about
1150-1200. France,
Auvergne. Wood
(walnut) with poly-
chromy; 40 x 22 x
24 cm. Severance
and Greta Millikin
Purchase Fund
2012.52
These guns form a matched pair of wheel-lock pistols con¬
forming to the type known as “petronel,” a long pistol usu¬
ally made with a wheel-lock ignition. Despite its length, the
petronel was fired at the wrist like a pistol or held against
the chest, and not at the shoulder like a rifle. Pistols of the
period customarily were made in pairs, often along with
primer and powder flasks to form a garniture. The wheel-
lock ignition mechanism required a key to wind or “span”
a spring, which in turn released a rapidly rotating serrated
wheel. This ignited the main charge by striking against a
piece of iron pyrite to create a shower of sparks. The inven¬
tion of the wheel-lock made possible small arms that could
be fired with one hand. Applied initially to firearms used on
horseback for cavalry or for the hunt, such pistols normally
were carried in tubular holsters on the sides of the saddle.
These elaborate petronel guns are true decorative arts
objects, their walnut stocks inlaid with mother-of-pearl and
stag horn in a theme of stags, lions, dogs, and scrolling
plant vines. The butt cap on both guns includes the initials
of the gunmaker, Georg Kurland, recorded as working in
Teschen from 1595 to 1632 and supplying guns to the Saxon
court. Gilding, chiseling, and engraved decoration embel¬
lish the octagonal barrels. Luxury firearms as a rule were
intended as sporting weapons for hunting or target prac¬
tice. As these examples demonstrate, finely crafted guns
became true works of art utilizing the skills of gunsmiths,
woodcarvers, chiselers, goldsmiths, inlayers, engravers, and
other specialized craftsmen.
Wheel-lock pistols were made in military and civilian
variants, the military versions generally less elaborate.
Such guns also attracted the interest of rich noblemen as
emblems of rank, and sporting guns soon became luxury
objects for their enjoyment. Gunmakers lavished all forms
of embellishment on these firearms: chiseling, engraving,
and gilding of the metal parts, as well as the use of rare
woods like ebony for the stock, enlivened with inlays of
horn, bone, and ivory. The highly elaborate decoration of
these guns indicates they were made for an unidentified
aristocratic client. They provide the museum’s Armor Court
with superb examples of the gunmaker’s craft from the
early 17th century.
20 March/April 2013
il
TOP
His Lantern 2006.
Afruz Amighi (Irani¬
an, b. 1974). Shadow
installation; woven
polyethylene (Pe-
Cap). 254 x 177.8 cm.
The Severance and
Greta Millikin Pur¬
chase Fund 2012.15.a
Untitled Noren
Partition (23)
2009. Rowland
Ricketts (American,
b. 1971). Indigo
dyed antique mos¬
quito netting, paste
resist; 190.5 x 190.5
cm. Gift of the
Textile Art Alliance
2012.50
pened in December 2012, the new gallery of Islamic art of¬
fers the opportunity to display works of art by contempo¬
rary artists inspired by Islamic traditions, thereby providing
a bridge between historic Islamic art and the contempo¬
rary Islamic world. The Iranian-born Afruz Amighi created
His Lantern, a stunning shadow work, in 2006 with a pat¬
tern influenced by Iranian prayer rugs. On a large white
sheet of woven polyethylene, she meticulously hand-cut
the design with a heated knife that seared the edges.
Light projected on the suspended work casts a magnified
shadow on the wall 17 inches away. In the process, light
and shadow are reversed as the cut-out voided areas in the
fabric are transformed into the illuminated pattern on the
wall. Both the concept and the
effect are magical.
His Lantern, the first in a series
of shadow pieces, uses the format
of a prayer rug within a large niche,
representing a prayer niche or mi-
hrab in a mosque, enlivened with a
foliate pattern. A prominent crys¬
tal chandelier replaces a mosque
lamp with flames rising up to form
the name of Allah, stylized into the
shape of a tulip. Miniature skeleton
keys hang from the chandelier, rep¬
resenting the martyrs of the Iran-
Iraq war. Amighi’s work generally
incorporates small coded religious
and political symbols in geometric
and foliate designs adapted from
Islamic art which she invites viewers
to investigate.
Born in Iran, Amighi was raised in
New York City. She graduated from Barnard College and then
went on to receive an MFA from New York University in 2007.
In 2009, Amighi won the inaugural Jameel Prize awarded by
the Victoria & Albert Museum, London.
Rowland Ricketts combines natural materials with tradi¬
tional techniques to create stunning works of contempo¬
rary art in fiber. Fie created Untitled Noren Partition (23)
with five hand-woven antique mosquito-netting panels
that are stitched across the top to form the beautiful
partition. Each length is resist-dyed with indigo to create
meticulously controlled large undyed circles that appear
to float mysteriously on gradated shades of light to
deep blue.
In Ricketts’s words, “I see my noren occupying a space of
transition. Designed as partitions, they are also screens that
capture and filter a space’s shifting light and air, bringing life
and movement to the indigo and the cloth.” It was selected
for the Textile Department’s collec¬
tion from the juried contemporary
fiber art exhibition Focus: Fiber
2011-12, organized by the Textile
Art Alliance, an affiliate group of
the Cleveland Museum of Art.
Ricketts has been working with
indigo, the natural dye plant for
the color blue, for 16 years, having
trained in indigo farming and dye¬
ing in Japan. After receiving his
MFA from the Cranbrook Academy
of Art in 2005, Ricketts now farms
and dyes in Bloomington, Indiana,
where he is an assistant professor
of textiles at Indiana University
and runs the IndiGrowing Blue
project. Fie greatly enjoys facilitat¬
ing the indigo processes, which
nature nourishes from seeds and
leaves to indigo dye. In his words,
“Through simple forms and a straightforward presentation I
strive to present the viewer with a color so rich that they see
beyond the dyed material to examine all that lies within a
color’s substance.”
21 www.ClevelandArt.org
Mark Cole Associate Curator of American Painting and Sculpture
et in an austere yellow interior, Jared French’s Evasion is a
precisely rendered yet highly enigmatic tableau featuring
several figures whose physical similarities suggest they rep¬
resent the same man. This protagonist appears twice in the
composition’s left foreground: in one instance, he confronts
his naked body in a mirror while shielding his eyes in shame;
in the other, he bows his head and covers his genitals in self¬
reprimand. In the right foreground, wearing a blue union
suit, he kneels in prayer below a blank sheet of paper tacked
to a wall. Down a dark and claustrophobic hallway in the
center of the composition, his variously naked and clothed
body ducks furtively through doorways in an implied infinite
progression.
Although presently not a household name—a situation
attributable in part to prevailing critical preferences for
abstract painting in postwar American art history—Jared
French was well regarded during the 1940s and ’50s as
one of the most technically accomplished and iconographi-
cally compelling magic realist painters. A still understudied
coterie of artists, the magic realists revived exacting Old
Master techniques in order to make convincing their im¬
probable, sometimes dreamlike images that address a wide
range of personal and social concerns. Because of French’s
preference for egg-yolk tempera, an extremely painstaking
medium, his output was relatively small; indeed, during his
mature career, he completed only one or two paintings
annually.
Symbolizing an individual’s attempt to deny the physi¬
cal self, Evasion is both an intensely personal and publicly
resonant endeavor. It belongs to a series of works, titled
“Aspects of Man,” in which the artist chronicled various
biological and cultural phenomena typifying human exis¬
tence. Yet despite its universal and timeless character, Eva¬
sion also reflects specific tensions regarding sexual mores
in mid-century America. While it is reductive to attribute
French’s iconographic interest here solely to his bisexuality,
the fact remains that he ranks among the first American art¬
ists whose same-sex desires were recognized and acknowl¬
edged by contemporaries who viewed his work. In light of
this, paintings such as Evasion carry additional import in the
history of American art.
Evasion 1947. Jared French (American, 1905-1988). Tempera on
canvas mounted to panel; 54.5 x 29.2 cm. John L. Severance Fund
2012.31
22 March/April 2013
Stephen Harrison Curator of Decorative Art and Design
I n one of the most significant single gifts of a work of art to
the museum in years, Harvey Buchanan, a retired art history
professor from Case Western Reserve University, donated
the magnificent 18th-century Newport desk and bookcase
that had descended in the family of his late wife, Penelope
(Penny) Draper Buchanan. Great case pieces of American
colonial furniture are rare specimens of the cabinetmaker’s
art. Examples from Newport, such as this one, are even
more highly prized for their innovative construction and
distinctive design. Only one other desk with similarly shaped
panels on the upper doors is known to exist and helps at¬
tribute this work to the Townsend family of cabinetmakers
working in Newport at the end of the 18th century.
The desk sings an even more lively tune with its illustrious
provenance, having been commissioned by a signer of the
Declaration of Independence, Oliver Wolcott Sr., who later
went on to serve as governor of Connecticut. It then directly
descended through the family to the well-known 20th-cen¬
tury interior designer Dorothy Draper, and finally to Penny,
her daughter, who was a legendary educator at the museum
for many years.
Penny and Harvey Buchanan lovingly cared for the desk in
their Gates Mills home for nearly 50 years, considering over
time its ultimate resting place to be the museum’s galleries
where they both spent many hours teaching art to young
people. After Penny’s death, Harvey decided to donate
several works to the museum, including an important neo¬
classical French clock, currently on view, and several pieces
of jewelry that were sold to begin an endowed fund in edu¬
cation in Penny’s memory. With these gifts, the museum has
benefited immensely from the generosity and devotion of
two of its most beloved community members.
Desk and Bookcase about 1780-95. Attributed to John Townsend
(American, active Newport, Rhode Island, 1732-1809). Mahogany,
red cedar, chestnut, white pine, brass; 240 x 108 x 64.8 cm. Gift of
Harvey Buchanan in memory of Penelope Draper Buchanan and
Dorothy Tuckerman Draper 2012.43
23 www.ClevelandArt.org
Reto Thuring Assistant Curator of Contemporary Art
Jim Hodges The museum has commissioned a monumental outdoor sculpture by the artist. These images are from an earlier work in
the same series (Untitled, 2011; granite, stainless steel, and lacquer; 190.5 x 629.9 x 764.5 cm installed). Installation view: Gladstone
Gallery, New York © Jim Hodges. Courtesy Gladstone Gallery, New York and Brussels
LeWitt in Process
The wall drawing
during installation
ne major acquisition approved last year will be installed this
coming summer and fall on the grounds to the north of the
east wing. Last summer Jim Hodges (American, b. 1957)
selected three boulders in the Cape Cod region of Massa¬
chusetts. They will make an impressive outdoor sculpture,
newly commissioned by the Cleveland Museum of Art, add¬
ing to the surroundings of the museum and its neighbors
and providing a place to rest and to wonder. But until the
three huge stones, each weighing 3 to 15 tons, are finally
part of the Kohl Sculpture Garden, they still have a long
way to go. In a fine art foundry in Rock Tavern, New York,
parts of the boulders’ surfaces are being chipped away to
accept thin stainless steel veneers. Layer by layer these
steel sheets, painted with a clear-coat mixed with a dye
typically used on motorcycles, will be added until they pro¬
duce a perfect fit between skin and stone. In the flawless
contiguity of the shiny metal and rough stone one can find
the richness and metaphorical depth typical of Hodges’s
oeuvre, along with his continual interest in the varied rela¬
tionship between beauty and transience.
Installed in a triangular setting with the modified sides
facing inward, the rocky trio will create a vibrating space of
colors and reflections. Like Isamu Noguchi, whose sculpture
Rock Carvings: Passage of the Seasons sits right in front of
the museum’s main entrance, Hodges is interested in art’s
ability to activate and transform the spaces it inhabits. The
new work will not only enter a meaningful dialogue with
Noguchi’s famous stones, it will also speak to other works
inside the museum, as it is deeply influenced by the artist’s
recent trip to India and his experiences there: a “layering,
layering, layering of material, to the point where what’s
being covered, its identity, seemed to start being erased
by the accumulation of color,” as he puts it. His sculpture
for the museum promises a multifaceted, thoughtful work
of art that is not afraid of embracing beauty as an integral
part of life.
Inside the bank of windows facing north between the
Vinoly east wing and Marcel Breuer’s education building
is another major contemporary acquisition. Joining the
monochromatic pencil wall drawing by Sol LeWitt already
in the museum collection (WallDrawing #4: A square divid¬
ed horizontally and vertically into four equal parts, each with
lines in different directions ), the colorful Wall Drawing 590A
(1989) is very different in its visual effect and medium. The
two works dramatically represent the difference between
LeWitt’s wall drawings and wall paintings.
Installed on the wall outside of the contemporary
galleries and fully visible from outside the building, the
large-scale wall painting measures roughly 18 by 40 feet.
Wall Drawing 590A connects in an interesting way with
other collections of the museum, due in part to its Italian
art historical roots. In producing the piece, LeWitt was
influenced by Trecento and Quattrocento frescoes such as
those of the Arena Chapel in Padua.
This gift from the LeWitt family in honor of museum
trustee Agnes Gund marks a major and welcome addition
to the contemporary collection, and significantly enhances
the museum’s holdings of works by a major figure in
contemporary American art.
24 March/April 2013
Constantine Petridis Curator of African Art
Pipe Bowl possibly
1800s. Southern
Nguni, South Af¬
rica. Green stone
(nephrite), metal;
H. 5.5 cm. Purchase
from the J. H.
Wade Fund 2012.42
C arved from a deep green, translucent stone with a highly
polished surface, this exquisite example of an extremely
rare type of pipe bowl originates from the Eastern Cape
Province in South Africa. Like the few other known
examples, the Cleveland pipe bowl would have been
complemented by a stem, now lost, made from wood or
reed or another less durable material. It is believed that
such nephrite pipe bowls were copied from stone ex¬
amples introduced by 17th-century Dutch settlers in the
Cape region.
In southern Africa smoking tobacco and taking snuff
were and still are enjoyed as activities that establish or
solidify harmonious social relationships. Because of its ca¬
pacity to heighten awareness and increase sexual arousal,
tobacco also was associated with procreation, fertility, and
access to the ancestors. Pipes often were given as wedding
presents or as gifts to maintain peaceful family or kinship
ties, then passed down as heirlooms from one generation
to the next and, over time, used only on special occasions.
In addition to their practical function as smoking devices,
pipes of unusual and therefore costly materials and in fancy
and refined shapes and forms, like this example, served
as markers of rank and status and indicated prestige and
socioeconomic prominence. Indeed, the Cleveland bowl’s
aesthetic excellence, expressed in its design as much as in
its craftsmanship, reinforces the belief that tobacco prod¬
ucts were associated with generous and powerful humans
and ancestral spirits alike.
THE CMA FILM SERIES TWELVE
New and old films from around the
world. Each program $9; CMA mem¬
bers, seniors 65 & over, and students
$7; or one CMA Film Series voucher.
The House I Live In Sunday, March 3,
1:30. Directed by Eugene Jarecki. This
detailed dissection of America’s drug
policy and its human rights abuses
was one of the 15 documentary fea¬
tures short-listed for this year’s Acad¬
emy Award. “A shattering case against
the War on Drugs” -Roger Ebert.
Cleveland theatrical premiere. (Neth¬
erlands/USA, 2012,108 min.)
Photographic Memory Wednesday,
March 6, 7:00. Directed by Ross
McElwee. The latest autobiographical
work from the director of Sherman’s
March finds the now middle-aged
filmmaker trying to understand his
young adult son, who lives largely in
the virtual world online. “Genuinely
moving” -NPR. Cleveland theatrical
premiere. (USA/France, 2011, 87 min.)
Beware of Mr. Baker Friday, March 8,
7:00. Directed by Jay Bulger. This raw,
profanity-laced documentary profiles
Beware of Mr. self-destructive Cream/Blind Faith
Baker Scare drum drummer Ginger Baker. “Five stars
[highest rating]... Rudely funny.”
-Time Out New York. Cleveland theat¬
rical premiere. (USA, 2012, 92 min.)
The Rabbi’s Cat Sunday, March 10,
1:30. Directed by Antoine Delesvaux
and Joann Sfar. A kindly rabbi debates
philosophy and religion with his acer¬
bic talking cat in this colorful, whim¬
sical animated feature set in 1920s
Algeria. Not appropriate for young
children. “Endearingly loopy” -NY
Times. Cleveland premiere. (France,
2011, subtitles, 100 min.)
The Waiting Room Director in person plus a panel discussion
FILMMAKER IN PERSON ON 3/13!
The Waiting Room Wednesday, March
13, 6:30. Friday, March 15, 7:00. Direct¬
ed by Peter Nicks. Short-listed for this
year’s Oscar for Best Documentary
Feature, this highly acclaimed new
movie captures one day in the emer¬
gency room of an urban public hospi¬
tal catering largely to the uninsured.
“The rare film that can change the way
you think and see the world” -San
Francisco Chronicle. Wednesday’s
show, which is in Gartner Auditorium
and co-sponsored by MetroFlealth, will
be followed by a panel discussion with
the filmmaker and other prominent
guests. Cleveland premiere. Wednes¬
day tickets $10 and $8; no passes or
vouchers. (USA, 2012, 81 min.)
Hitler’s Children Sunday, March 17,
1:30. Wednesday, March 20, 7:00.
Directed by Chanoch Ze’evi. This pro¬
vocative documentary explores how
descendants of some of Nazi Ger¬
many’s most notorious figures (Goer-
ing, Flimmler, et al.) live with the guilt
and shame that comes with their sur¬
names. “Few will be unmoved” -Hol¬
lywood Reporter. Cleveland theatrical
premiere. (USA/Germany/Israel, 2011,
subtitles, 80 min.)
Starlet Friday, March 22, 7:00. Directed
by Sean Baker. With Dree Flemingway.
In this acclaimed indie, an aspiring
21-year-old actress befriends a prickly
elderly widow she meets at a yard
sale. “A thrillingly, unexpectedly good
American movie about love and a mor¬
al awakening” -NY Times. Cleveland
premiere. (USA, 2012,103 min.)
The Central Park Five Sunday, March
24,1:30. Directed by Ken and Sarah
Burns and David McMahon. Ken Burns’s
acclaimed new documentary looks at
recent history: the inflammatory 1989
case of five black and Hispanic NYC
teens who were wrongly convicted of
raping a white female jogger. “Emo¬
tionally stirring” -NY Times. Cleveland
premiere. (USA, 2012,119 min.)
Middle of Nowhere Friday, March 29,
7:00. Saturday, March 30,1:30. Di¬
rected by Ava DuVernay. Ava DuVer-
nay’s acclaimed second feature made
her the first African American woman
to win the Best Director prize at Sun¬
dance. Middle of Nowhere tells of a
woman who puts her medical school
plans on hold in order to attend to
her newly incarcerated husband, sen¬
tenced to prison for eight years. “Old-
school, character-driven narrative at
its most quietly effective” -LA Times.
Cleveland premiere. (USA, 2012, 97
min.)
A Man Vanishes Wednesday, April 17,
6:30. Directed by Shohei Imamura. The
most acclaimed rediscovery of 2012!
This Japanese documentary about the
mysterious disappearance of a sales¬
man turns meta when the missing
man’s fiancee falls in love with one of
the filmmakers. A series of startling
revelations casts further doubt on the
veracity of verite. “Five stars [high¬
est rating]... A primo example that
cinema actually traffics in truthiness
24 frames per second” -Time Out New
York. Cleveland revival premiere.
(Japan, 1967, subtitles, 130 min.)
26
March/April 2013
Bestiaire A beauty Tchoupitoulas Friday, April 19, 5:30
and 7:15. Directed by Bill and Turner
Ross. The new film from the Ohio-
born brothers who made 45365
follows three other brothers, all
Louisiana adolescents, as they ferry
across the Mississippi for their first
taste of forbidden fruit. The siblings
spend a night wandering wide-
eyed through exotic, nocturnal New
Orleans—a wonderland of strange
characters and sensuous pleasures.
“Critic’s Pick ... Explore[s] the border
between innocence and experience ...
Alive with the risk and curiosity of
youth” -NY Times. Cleveland pre¬
miere. (USA, 2012, 80 min.)
Bestiaire (Bestiary) Sunday, April 21,
1:30. Directed by Denis Cote. People
watch animals and vice versa in this
beautiful, wordless, meditative docu¬
mentary shot at a Quebec wild animal
park. “Essential viewing” -NY Times.
Cleveland premiere. (Canada/France,
2012, 72 min.)
The Painting Directed by Jean-Fran-
pois Laguionie. The museum partners
on one of the acclaimed new foreign-
language films at this year’s Cleveland
International Film Festival, April 3-14
at Tower City Cinemas downtown. The
Painting is an animated fable in which
characters on a canvas come to life
and eventually drop into the Painter’s
studio. “A color riot suitable for all
ages” -Variety. Cleveland premiere.
(France/Belgium, 2011, subtitles, 78
min.) $14; CIFF members and (on
day of show) students & seniors $12.
Mention the code “CMA” and save $2
off ticket price to this and any CIFF
screening. Tickets not available at
CMA Ticket Center; no Film Series
vouchers accepted. For dates, times,
and tickets, visit www.clevelandfilm.
org.
POMPEII-RELATED FILMS
Right: Decasia
(March 27)
Below: The Last
Days of Pompeii
(1926 version with
live piano accom¬
paniment)
Three programs relating to our
current exhibition The Last Days of
Pompeii. Regular film admission pric¬
es apply, but no passes or vouchers.
LIVE PIANO ACCOMPANIMENT!
The Last Days of Pompeii Friday,
March 1, 7:00. Directed by Carmine
Gallone and Amleto Palermi. The Brit¬
ish Film Institute has preserved this
long, lavish, and racy silent version of
Edward Bulwer-Lytton’s love and lava
story, restoring the film’s female
nudity and original color tinting.
Sebastian Birch, composer and assis¬
tant professor of music at Kent State,
provides live piano accompaniment.
Cleveland revival premiere. (Italy, 1926,
English intertitles, approx. 150 min.)
FILMMAKER IN PERSON!
Apocalypse Not Wednesday, March
27, 6:45. Various directors. For some
artists cataclysmic events signify a
starting point and not an end (well
seen in the Pompeii exhibition). This
program consists of four American
experimental works in which death
has been given new life. Included:
Bill Morrison’s Decasia (2002), a col¬
lage of beautifully decaying silent
film footage set to a Michael Gordon
score; Stan Brakhage’s In Consider¬
ation of Pompeii (1995); Kevin Jerome
Everson’s From Pompeii to Xenia
(2003); and Ivan Galietti’s Pompeii
New York , Part 1: Pier Caresses (1985).
Galietti answers audience questions
after the screening. Adults only! (USA,
1985-2003, total 92 min.)
Three films spotlighting two of the
West Coast composers featured in
the Cleveland Orchestra’s “California
Masterworks” concerts on May 1 and
3 at CMA. Tom Welsh, the museum’s
director of City Stages, introduces
discusses all three films. Regular film
admission prices apply.
Crossroads and Music with Balls
Friday, April 26, 7:00. Two short films
feature music by Terry Riley. First is
a 1976 experimental film by Bruce
Conner that looks closely at the 1945
atomic bomb explosion on Bikini Atoll.
The second, made in 1969 for San
Francisco television, features music
wedded to abstract visuals. Special
thanks to the Pacific Film Archive,
Berkeley. (USA, 1969/1976, total 59
min.)
Lou Harrison: A World of Music
Sunday, April 28,1:30. Directed by
Eva Soltes. This new documentary is
an intimate portrait of a free-thinking
musician whose groundbreaking com¬
positions spanned decades. Cleveland
premiere. (USA, 2012, 90 min.)
The Last Days of Pompeii Wednesday,
April 24, 7:00. Directed by
Ernest B. Schoedsack and Merian C.
Cooper. With Basil Rathbone. The
team behind King Kong (including
special effects wiz Willis O’Brien)
reunited two years later for this lav¬
ish historical drama that borrowed
the name of the Bulwer-Lytton novel
but told a different story: that of a
blacksmith turned gladiator whose life
intersects with that of Christ. 35mm
print preserved by the Library of
Congress. (USA, 1935, 96 min.)
VIVA! & GALA PERFORMANCES
o
cl
CL
Pick up a season brochure for full
details or visit us online to hear music
samples, watch video, and read more
at ClevelandArt.org/Performance.
The Art of Naqqali: Master Storytell¬
ers of Iran Wednesday and Friday,
March 6 and 8, 7:30; Saturday and
Sunday, March 9 and 10, 2:30. In
this commissioned performance in
celebration of the reopening of the
museum’s Islamic galleries, two of
Iran’s foremost storytellers perform
epic stories from the Shahnameh, or
Book of Kings, to the accompaniment
of Persian traditional chant and per¬
cussion music. Shahnameh stories are
the subjects for many of the brilliantly
painted Persian miniature paintings in
the museum’s collection, a selection
of which are now on view in the CMA
galleries. See page 6 for an article
about naqqali by Massoud Saidpour.
U.S. debut. In Farsi with English super¬
titles. $45.
Lectures: Art of Storytelling in Iran
Two free lectures complement the
performances.
Friday, March 8, 6:00. Ethnomusicolo-
gist and Iranian music specialist
Stephen Blum talks about the ancient
art form of naqqali, or storytelling.
Saturday, March 9,1:00. Davood
Fathali Beygy—Iranian scholar, film
actor, and performer—talks about the
ancient art form of naqqali.
Naseer Shamma & Ensemble Friday,
March 15, 7:30. “No other musician
playing in Cairo has ever had such a
power over such a large audience” -Al
Ahram (Cairo). Iraqi musical master
and oud (lute) virtuoso Naseer Sham¬
ma performs Arab music from its
golden era with his ensemble Oyoun
from Cairo. Presented in conjunction
with the opening of the Islamic galler¬
ies. $34-$54.
Ana Moura: Fado of Portugal Friday,
March 22, 7:30. “Superb young fadis-
ta” -Billboard. Fado (“fate”) arose out
of Lisbon cafes to become the most
prized music of Portugal. Ana Moura,
a leading exponent of the genre, in¬
terweaves glimmers of hope, hints of
sensuality, passages of melancholy,
Ana Moura Fabulous and glints of determination into a
Fadista magical musical elixir. $34-$54.
,7m
ATRIUM DANCE PARTY
Oliver Mtukudzi Friday, April 5, 9:00.
“A gorgeous night of polyrhythmic
grooves” -New York Times. The Afro-
pop superstar from Zimbabwe mixes
in his music hypnotic guitar loops, per¬
cussive beats, and the African thumb
piano with his soulfully husky voice
and vocal harmonies to superb effect.
His live performances pack houses in
prestigious venues around the world,
from the Barbican in London to Millen¬
nium Park in Chicago. $43.
Oliver Mtukudzi Prix Fixe Dinner 7:00
seating. Menu includes peanut butter
stew with organic chicken, free-range
antelope with sweet potato puree,
cornmeal cake with toasted sour
cream, and other items inspired by
the eclectic Zimbabwean culture. $75
(excludes gratuity).
Naseer Shamma Oud master
Oliver Mtukudzi Polyrhythmic grooves
Paris Combo Friday, April 19, 7:30.
“Seduces you with its one-of-a-kind
point of view” -Jazziz. This fascinat¬
ing quintet from Paris brings back a
cabaret-style sound reminiscent of the
Paris of the late 1930s. The young, vi¬
brant combo plot an innovative course
of new and original music that, like its
predecessor, is unabashedly playful
and sensuous, bubbling with subtlety
and intelligence. $34-$54.
Paris Combo Cabaret reimagined
FREE CONCERTS
Chamber Music in the Galleries
Wednesdays, March 6 and April 3,
6:00. From string quartets to key¬
boardists to delightfully unexpected
small ensembles, young artists from
the Cleveland Institute of Music and
the Case Western Reserve University
early music program offer a wide
range of repertoire. Programs an¬
nounced the week of performance.
Check the museum’s Facebook page,
Twitter, and web site for details.
COMING IN MAY
The Cleveland Orchestra continues
its collaboration with the museum in
California Masterworks —two programs
(May 1 and 3 at 7:30) featuring the
music of California composers Lou
Harrison, Terry Riley, John Adams,
Henry Cowell, and others. Films spot¬
lighting Riley and Harrison screen
Friday, April 26 and Sunday, April 28.
Tom Welsh, the museum’s director of
City Stages, introduces and discusses
the films. See page 27 for details.
28 March/April 2013
PARADE THE CIRCLE
O
CL
(71
MIX FIRST FRIDAYS
Art, music, cocktails. Something
different every month.
Join us on the first Friday evening
of each month for an ever-changing
mix of art, music, and mingling. Sip a
cocktail, check out the galleries with
friends, take part in a collaborative art
project, and enjoy the view.
Visit ClevelandArt.org/MIX for further
details, or simply show up and enjoy.
Advance tickets strongly recom¬
mended.
MIX UP: Apocalypse Friday, March 1,
5:00-11:00. $14 ($16 the day of event),
CMA members $7.
MIX: Afrobeat Friday, April 5, 5:00-
9:00. Oliver Mtukudzi pre-party! Free.
CIRCLE NEIGHBORS
Building the Circle 2035: Height,
Density & Social Equity Wednesday,
April 10, 6:00. Gartner Auditorium.
Moderator: Steven Litt, art and
architecture critic, The Plain Dealer.
Panel: Chris Ronayne, president, UCI
Inc; Ari Maron, partner, MRN Ltd.; and
India Pierce Lee, program director for
Neighborhoods, Housing, and Com¬
munity, Cleveland Foundation (as of
print date).
Join us as we look a couple of de¬
cades ahead at the future of Cleve¬
land’s premier medical, educational,
and cultural district. University Circle
already offers national examples of
how anchor institutions, developers,
foundations, and local government
can collaborate to nurture growth.
What’s coming next?
For reservations: 216-707-2527 or
visit WCCMA.net and click the RSVP
button.
Circle Neighbors is a free lecture series sponsored
by the Womens Council of the Cleveland Museum
of Art in collaboration with the Cleveland
Botanical Garden, Cleveland Museum of Natural
History, Women’s Committee of the Cleveland
Orchestra, and Western Reserve Historical Society.
Bring your family on the second Sun¬
day of every month from 11:00 to 4:00
for a variety of family-friendly activi¬
ties including art-making, storytelling,
scavenger hunts, and movement-
based gallery talks—no two Sundays
are the same! Second Sundays fea¬
tures a unique theme each month in
conjunction with the museum’s collec¬
tion, exhibitions, and events.
Travel through Time to Pompeii
Sunday, March 10,11:00-4:00. Ex¬
plore The Last Days of Pompeii with
hands-on art activities, Art Stories for
preschoolers and their families, the
Pompeii Art Cart, and much more!
Come Play at the CMA: Museum Am¬
bassadors Community Day Sunday,
April 14,11:00-4:00. Join us as the
Museum Ambassadors from Bedford,
CASTLE, Cleveland School of the Arts,
John Hay, Lincoln-West, Shaker, Shaw,
and Westlake High Schools present
an afternoon of free studio activities,
games, and tours of their own cre¬
ation. And don’t forget to head to the
American Vesuvius exhibition at 2:00
for a special talk by geophysicist Dr.
Donald Palmer and curator Barbara
Tannenbaum about Mount St. Helens,
volcanoes, and aerial photography.
Medieval Menagerie Sunday, May 12,
11:00-4:00. It’s a zoo in here! Explore
animals in the museum’s collection
and in the Caporali Missal special exhi¬
bition through hands-on art activities
and other family-friendly fun!
Summer Sojourns Sunday, June 9,
11:00-4:00. On the day after Parade
the Circle, kick back and relax at this
low-key family day. Go on a scavenger
hunt at your own pace, experience
an Art Cart, and celebrate summer
together!
Celebrate the 24th annual Parade the
Circle on June 8,11:00-4:00, parade
at noon. The museum produces Pa¬
rade the Circle; University Circle Inc.
produces Circle Village with hands-on
activities presented by Circle institu¬
tions, entertainment, and food. March
in the parade for $6/person. More info
at ClevelandArt.org/parade.
Leadership Workshops Free training
workshops in parade skills for leaders
of school or community groups pre¬
paring parade entries help you plan
your parade ensemble. Workshops
begin March 5 at the parade studio
and continue into April. For more in¬
formation and a schedule, contact
Nan Eisenberg at 216-707-2483 or
commartsinfo@clevelandart.org.
Basic Parade Workshops Create
your parade entry. Workshops at the
museum begin May 3 and are Fridays
6:00-9:00, Saturdays 1:30-4:30, and
Sundays 1:30-4:30 until the parade.
A workshop pass (individuals $50;
families $150 up to 4 people, $25
each additional person) entitles you
to attend all workshops; fee includes
parade registration. Children under
15 must register and attend with
someone older. Group rates available.
Drop-in registration for all workshops
or the parade. Watch for full listings
and special workshops in the May/
June magazine.
Volunteers More than 100 are
needed in advance and on parade day.
Assist at workshop sessions, help with
production work for major ensembles,
distribute posters and flyers, or fill one
of dozens of parade day jobs. Contact
Liz Pirn in the volunteer office at 216-
707-2593 or volunteer@clevelandart.
org for more information.
29 www.ClevelandArt.org
LECTURES
Select lectures are ticketed. Register
online or by calling the ticket center at
216-421-7350.
The Caporali Missal: A Masterpiece
of Renaissance Illumination Sun¬
day, March 3, 2:00. Stephen Fliegel,
curator of medieval art, examines a
manuscript missal, subject of a current
exhibition, produced for the Francis¬
can community of Montone in Italy’s
Umbria region in 1469. He discusses its
impressive decoration by the Caporali
brothers and its use as the service
book for the priest at the altar. Pre¬
sented in partnership with Cleveland
State University. Free.
Luxury, Commerce, and Death in the
Villas Buried by Vesuvius at Oplon-
tis Wednesday, March 6, 5:30. John
R. Clarke, director of the Oplontis
Project, reviews excavations of two
enormous Roman villas at Torre An-
nunziata, three miles north of Pompeii.
Presented by Case Western Reserve
University. Free.
“Poetry of the Earth”: The Golden
Age of British Watercolors Wednes¬
day, March 13, 7:00. Watercolor has
always been particularly British. The
availability and portability of com¬
The Golden Hour
1865. Samuel Palmer
(British, 1805-1881).
Watercolor and
gouache with
graphite and scrap¬
ing; 25.6 x 35.4 cm.
The Severance and
Greta Millikin Pur¬
chase Fund 2009.3
mercial “paint-cakes” made it ideal for
landscape painting, and artists in Brit¬
ain exploited watercolor’s potential for
translucence and brilliance to capture
the fleeting effects of light and atmo¬
sphere as had never been done in oil
on canvas. Heather Lemonedes, cura¬
tor of the exhibition British Drawings
from the Cleveland Museum of Art,
explores this great tradition. Free.
Perpetual Disaster: “Pompeii! The
Ancient City Is Destroyed Again
Tonight!” Sunday, March 17, 2:00.
Jon Seydl, curator of The Last Days of
Pompeii, takes on the three big ideas
at the heart of this exhibition: deca¬
dence, apocalypse, and resurrection,
discussing how these three themes
illuminate the ways artists have dealt
with the legacy of Pompeii. The lec¬
ture also addresses how the exhibition
came to fruition, moving from early
concept to international loan show
here in Cleveland. $8, CMA
members $5.
The Book Arts in World Religions
Wednesday, March 20, 5:30, Cleve¬
land State University Student Center
Ballroom. This panel discussion places
the Caporali Missal in a global context
by examining the book arts in a va¬
riety of religious traditions including
Christianity, Judaism, Islam, and the
religions of India. Participants include
CSU faculty members Sucharita Ad-
luri, Samantha Baskind, and Marian
Bleeke, and the Rev. David Novak of
Ss. Robert and William Parish, Euclid.
Free; reception follows.
Allan McCollum: Life and Work Satur¬
day, March 23, 2:00. Journey through
40 years of practice with artist Allan
McCollum, known for his works in
series addressing notions of original¬
ity and the ideological implications of
mass production. McCollum discusses
selections from his career, including
The Dog from Pompei, currently on
view in the exhibition The Last Days of
Pompeii. The Dog marks a divergence
from his earlier works as a copy made
from an object created not by human
or mechanical means but by nature.
$15, CMA members $10.
Stolen from Death: 150 Years of the
Pompeian Casts, or the Casts as
Works of Art Saturday, April 6, 2:00.
Dr. Eugene Dwyer, professor of art
history at Kenyon College, discusses
the creation of the first plaster body
casts at Pompeii and considers how
they were seen by contemporaries: as
tragic victim, as objects of scientific
study, as the ultimate works of sculp¬
ture. As The Last Days of Pompeii now
demonstrates, the perception of the
casts as works of art or material for
art has continued to this day. $8, CMA
members $5. Book signing follows.
30 March/April 2013
Praying Mantises in Gray Vesture:
The Followers of St. Francis between
Ideal and Praxis in Late Medieval
Italy Wednesday, April 17, 5:30, Cleve¬
land State University Student Center
Ballroom. The Caporali Missal is a
liturgical book commissioned in 1469
and used for the celebration of Mass.
As a book facilitating prayer, it tells
us about the piety of the Franciscan
friars who used it, the patronage that
made it possible, and the wider strug¬
gles for authentic vocational identity
within the Order during the late 15th
century. Father Michael Cusato, one
of the leading historians of Franciscan
history working in the United States
today, places this precious book in its
wider religious and historical context
in the Late Middle Ages. Free; recep¬
tion follows.
Music for the Mass of St. Francis in
the Caporali Missal: A Lecture and
Performance Sunday, April 21, 2:00.
Dr. David Rothenberg of Case West¬
ern Reserve University discusses the
liturgical and musical contents of
the Caporali Missal, illustrated with
performances of musical excerpts
from the Mass for the feast day of St.
Francis of Assisi by a chamber choir.
Presented in partnership with Cleve¬
land State University. Free; meet in the
exhibition gallery.
“The Fated Hand”: Time and Trans¬
formation in the Work of Edward
Burne-Jones Friday, April 26, 7:00.
British artist Edward Burne-Jones
labored for over 20 years on his vast
painting cycle, The Legend of the Briar
Rose (1870-92), transforming the
traditional tale of Sleeping Beauty into
a modern parable of artistic, social,
and political reawakening envisioned
on an epic scale. Focusing on the
Cleveland Museum of Art’s evocative
watercolor study for the third canvas,
The Garden Court (1870-75,1994.197),
Dr. Andrea Rager of Case Western
Reserve University explores Burne-
Jones’s quest to revive beauty amidst
the ravages of the industrial age. Free.
IN THE GALLERIES
Untitled (Seagram
Mural Sketch)
1958. Mark Rothko
(American, b. Rus¬
sia, 1903-1970). Oil
on canvas; 266.1 x
252.4 cm. National
Gallery of Art,
Washington. Gift
of the Mark Rothko
Foundation, Inc.
1986.43.170.
© 1988 Kate Rothko
Prizel & Christopher
Rothko / Artist
Rights Society
(ARS), NY
Pompeii Tours Tuesdays, Wednes¬
days, Thursdays, and Saturdays at
2:30 beginning Tuesday, March 5.
Museum-trained docents lead interac¬
tive tours through the special exhibi¬
tion. Exhibition ticket required. Meet
in the atrium. Subject to availability.
Highlights Tours 1:30 daily. These
overviews of the museum collec¬
tion may stop in the smaller rotating
special exhibitions. Led by museum-
trained docents, the tours depart from
the atrium.
Art in the Afternoon Second Tuesday
each month, 1:15. Docent-led conversa¬
tions in the galleries for audiences with
memory loss; designed to lift the
spirits, engage the mind, and provide
a social experience. Free, but pre¬
registration required; call 216-231-1482.
Abstract Expressionism and Pompeii
Wednesday, March 6, 7:00. After visit¬
ing Pompeii in the 1950s, Mark Rothko
drew on the frescoes to help concep¬
tualize a major painting commission,
decoration of the Four Seasons res¬
taurant in New York’s famous Sea¬
gram Building. Dr. Ellen Landau, Case
Western Reserve University, explores
Rothko’s imaginative restatement of
Pompeiian color and organization.
Meet in the exhibition (ticket required).
Inside American Vesuvius Sunday,
April 14, 2:00. Join geophysicist
Donald Palmer and CMA photography
curator Barbara Tannenbaum for a
lively conversation about Mount St.
Helens, volcanoes, and aerial photog¬
raphy. Meet in the photo galleries.
JOIN IN
Theater Ninjas Theater Ninjas pre¬
sent the latest version of their original
performance The Excavation , a theat¬
rical celebration of the life, death, and
rebirth of Pompeii in popular culture,
in conjunction with the exhibition The
Last Days of Pompeii: Decadence ,
Apocalypse , Resurrection. Using the
Ames Family Atrium as a staging
ground for this sprawling choose-
your-own-adventure-style perfor¬
mance, the Ninjas explore the comic
and tragic legacy of this famous city
through a blend of site-specific per¬
formance and interactive storytelling.
During special Ninja Days in March,
April, and May, members of the troupe
are integrated into the exhibition
itself, for special scenes, interactive
experiences, and more. This exciting
collaboration between the museum
and the Cleveland-based Theater
Ninjas brings together performance
and the visual arts in a one-of-a-kind
experience filled with humor, pathos,
and catastrophic volcanic eruptions.
The Excavation Performance
Schedule Friday, March 1, 7:00 (all
free except the opening performance
during MIX: Apocalypse, for which a
ticket is required); Wednesday, March
20, 7:00; Friday, April 12, 7:00; Sun¬
day, April 28, 2:00; and Wednesday,
June 12, 7:00.
Ninja Days Visit The Last Days of
Pompeii on Fridays and Sundays for
a unique experience featuring char¬
acters from The Excavation in the
exhibition itself. No two Ninja Days
will be alike—come often! Experience
Ninja Days Friday, March 8 through
Sunday, May 19 (no Ninja Days March
29 & 31 and April 12 & 28). No regular
exhibition tours on Ninja Days. Fridays
3:00-7:00, Sundays 12:00-4:00. Exhi¬
bition ticket required.
Art Cart On select afternoons the
museum offers a hands-on experience
in the galleries. Guided by the Art to
Go team, patrons may handle genuine
works of art in an informal, intergen-
erational, and self-directed format.
Art Cart experiences can be organized
for groups, for a fee. Contact Karen
Levinsky at 216-707-2467.
Pompeii Sunday, March 10 and Sun¬
day, April 14,1:00-3:00. Examine
unique bronze replicas of excavated
31 www.ClevelandArt.org
ancient household artifacts for a
hands-on experience that connects to
objects and themes in the exhibition.
Teen CO-OP Calling all teens! The
museum is now accepting applications
for its groundbreaking new program,
Teen CO-OP at the CMA, for rising 9th
through 11th graders. Participating
teens will complete a two-week train¬
ing session from June 17-28. Don’t
miss this opportunity to learn about a
variety of museum departments and
work on programming for Gallery One,
our new interactive gallery. For more
information and application instruc¬
tions, contact Patty Edmonson at
pedmonson@clevelandart.org.
Community Photo Project In conjunc¬
tion with Carrie Mae Weems: Three
Decades of Photography and Video
(on view June 30-September 29), the
museum invites you to participate in
a community photo project that will
become a living display at the mu¬
seum. Take a photograph that you feel
completes this sentence: “My commu¬
nity is ....” Submit your photo, your
completed sentence (“My community
is ....”), first and last name, age, and
medium (cell phone camera, Insta-
gram, digital camera, etc.) via e-mail
to mycommunityis@clevelandart.
org. Museum staff will select a small
group of submissions to be printed
and displayed at the museum; dead¬
line for printed display consideration
is Friday, May 31. Rolling submissions
for electronic display will be accepted
through Sunday, September 29. All
photographs must be submitted elec¬
tronically. No nudity, profanity, offen¬
sive or insulting material, watermarks,
or photos created for solicitation pur¬
poses will be accepted.
INGALLS LIBRARY
Ad Hi&tQiial Ntntl
TAA EVENTS
Lecture: People and Portraits
Wednesday, April 17,1:30, lecture
hall. Marie Elkins, textile artist from
Dayton, discusses quilt artists who
use people or portraiture as their
subjects and various techniques. $5 at
the door, TAA members and full-time
students free.
Workshop: Fused Applique Portraits
Thursday, April 18, 2013,10:00-4:00.
The fused applique technique is
suitable for everyone, including non-
quilters. Marie Elkins digitally manipu¬
lates a photograph that you provide
to create your custom fused applique
pattern, demonstrating a step-by-step
process. Written instructions also pro¬
vided. A $15 materials fee covers the
cost of preparing photos in advance,
photocopies, and appropriate fusible
webbing and batting. Supply list on
sign-up. $100, TAA members $75.
Reservations: Mary Ann Tipple
440-327-8087, e-mail: tip060@
windstream.net.
Art & Fiction Book Club: Pompeii: A
Novel by Robert Harris. 3 Wednes¬
days, March 6-20,1:30-2:45. British
author Robert Harris has crafted a
beautifully researched historical novel
peopled with well-developed char¬
acters in which a Roman engineer
scurries to repair an aqueduct in the
shadow of Mount Vesuvius and sees
that an eruption is imminent. $50,
CMA members $40.
Upcoming Art & Fiction Book Club
Titles
May Clara and Mr. Tiffany by Susan
Vreeland
July Stealing the Mystic Lamb by Noah
Charney
The museum store stocks each Art &
Fiction Book Club title. CMA members
receive a 15% discount on all pur¬
chases.
The Art Study Group The collabora¬
tion that began with the Cleveland
Heights-University Heights Public
Library now includes the Chagrin
Falls and Gates Mills Branches of the
Cuyahoga County Public Library, the
Lorain Public Library’s North Ridge-
ville Branch, and the Rocky River
Public Library. Call your local public
library to register. Free, preregistra¬
tion required.
Part I Setting the Stage—The Last
Days of Pompeii: Decadence, Apoca¬
lypse, Resurrection. Sunday, March 3,
2:00-3:00 at the Rocky River Public
Library; Sunday, March 10, 3:00-4:00
at the Lorain Public Library’s North
Ridgeville Branch (call 440-327-
8326 to register); Sunday, March 17,
2:30-3:30 and Tuesday, March 19,
10:30-11:30 at the Cleveland Heights-
University Heights Public Library
(limit 20, call 216-932-3600 or visit
www.HeightsLibrary.org to register
after March 3); Thursday, March 21,
7:00-8:00 at the Chagrin Falls Branch,
Cuyahoga County Public Library (call
440-247-3556 to register).
Part II Ingalls Library visit and tour of
the Pompeii exhibition. Wednesday,
March 27, 6:30-7:30. Visit the Ingalls
Library to view materials related to
the exhibition, followed by a guided
tour (meet in the library). Please call
your local public library to register.
Limit 75.
Part III Book Discussion: Pompeii:
A Novel by Robert Harris. Wednes¬
day, April 10, 7:00 at the Cleveland
Heights-University Heights Public
Library. Call 216-932-3600 or visit
www.HeightsLibrary.org to register.
Capturing the Era at the Rocky River
Public Library on Sunday, April 14 at
2:00. See two short films relating to
Pompeii: first, the BBC docudrama
Pompeii: The Last Day, second, at
3:00, Herculaneum Uncovered, from
the PBS series Secrets of the Dead.
Stay for either or both movies!
Collection in Focus: From Blake to
Beardsley: British Book Illustration
in the Ingalls Library Wednesday,
April 17,1:30-3:00 in the Art View¬
ing Room (meet at the Information
Desk). From the Romanticism of the
early 19th century to the Aestheticism
that heralded the coming of the 20th
century, this program features four of
the most significant illustrators of the
period: William Blake, George Cruik-
shank, Arthur Rackham, and Aubrey
Beardsley. On display are some of
their most famous works that can be
found in the Ingalls Library collec¬
tion, including Blake’s illustrations for
The Complaint, and the Consolation
or, Night Thoughts and Beardsley’s
most famous and controversial Yellow
Book: An Illustrated Quarterly. Regis¬
tration required; limit 25. Call 216-707-
2530 to register.
Ongoing Book Sale Every month a
new selection of books is located on
the shelves opposite the recent acqui¬
sition area. Books are changed at the
beginning of each month, with deeper
discounts each week.
Library Program Tickets Call 1-888-
CMA-0033 or visit ClevelandArt.org/
tickets for tickets to programs. For
specific questions regarding library
programs, please call the reference
deskat 216-707-2530.
32 March/April 2013
FOR TEACHERS
Art to Go See and touch amazing
works of art up to 4,000 years old
as museum staff and trained volun¬
teers come to you with objects from
the education collection. Hands-on
interactive presentations encourage
observation, creative thinking, deci¬
sion making, problem solving, and
teamwork. Presentations are 40-60
minutes long and scheduled Monday
through Thursday, 9:30-2:30. Eve¬
ning presentations are available on
Wednesdays. Preschool presentations
are available on Fridays. New reduced
fees; Art to Go is now more affordable
than ever! Topics, fees, and informa¬
tion are at ClevelandArt.org. Contact
Karen Levinsky for more information
at 216-707-2467.
Early Childhood Educator Work¬
shop: Science and Art Saturday,
March 9,10:00-1:00. Science can be
found everywhere in art—from light
and shadow to artists’ depictions of
weather and seasons to the way that
colors mix together on an artist’s
canvas. Learn how to use resources
in the CMA’s Teacher Resource Cen¬
ter and works in the CMA collection
to introduce your early learners to a
variety of science concepts. Workshop
content is most appropriate for edu¬
cators of pre-K to 1st grade students,
but teachers of other age levels are
welcome.
Register by March 2. $25, TRC Advan¬
tage members $20; includes parking.
For more information, contact Liz
Wilcox-Clay at lclay@clevelandart.org
or 216-707-2181.
Recording Disaster: Cartooning
Workshop 2 Saturdays, March 16 and
23,10:00-1:00. Inspired by works of
art from the exhibition The Last Days
of Pompeii, this TRC offering explores
personal responses to transforma¬
tive events through the medium of
cartooning. In this two-session work¬
shop, participants tour the exhibition
and learn the basics of using a graphic
narrative with the end goal of creating
a class comic book anthology. These
activities can be replicated at school
for a variety of ages.
Register by March 9. Limit 20. $60,
TRC Advantage members $55; in¬
cludes supplies and parking. For
additional information contact Dale
Hilton at 216-707-2491 or dhilton@
clevelandart.org.
Science of Manuscripts Workshop
(in partnership with the Cleveland
Museum of Natural History) Saturday,
April 13,10:00-1:00. While today most
books are machine-made, 15th-cen¬
tury texts such as the Caporali Missal
were made by hand. These service
books and other manuscripts were
lavishly decorated with colors that
maintain their ability to dazzle. From
the natural pigments used to create
the paint to the application of gold
and silver leaf, explore the geology
behind these artworks. Practice using
natural pigments to create paint and
your own works of art.
Register by April 6. $40, TRC Advan¬
tage and CMNH Science Resource
Center members $35; includes sup¬
plies and parking. For additional
information contact Dale Hilton at
216-707-2491 or dhilton@clevelandart.
org.
Early Childhood Educator Workshop:
Storytelling and Art Saturday, May
4,10:00-1:00. Artists convey mo¬
ments in time, feelings, ideas, and
stories through their artworks. In this
workshop, we’ll explore techniques for
using works in the CMA collection to
spark your students’ creativity and to
explore the elements of language arts.
Workshop content is most appropri¬
ate for educators of pre-K to 1st grade
students, but teachers of other age
levels are welcome.
$25, TRC Advantage members $20; in¬
cludes supplies and parking. For more
information, contact Liz Wilcox-Clay at
lclay@clevelandart.org or 216-707-2181.
Teacher Resource Center Visit the
TRC to access lesson plans, books, and
other resources to support your curric¬
ulum. Thematic teaching kits are also
available for TRC Advantage members
to check out. Make an appointment
by contacting Dale Hilton at dhilton@
clevelandart.org or 216-707-2491.
Teacher Resource Center Advantage
Join TRC Advantage to check out the¬
matic teaching kits, receive discounts
on workshops, create a customized
curriculum plan for your classroom,
and more! Individual and school
benefit levels are available. For more
information, contact Dale Hilton at
dhilton@clevelandart.org or 216-707-
2491.
ART CLASSES FOR
PRESCHOOLERS
CLASS GALLERY
My Very First Art Class
March Session: 4 Fridays, March 1-22,
10:00-10:45 (ages V/ 2 - 2 V 2 ); 4 Fridays,
March 1-22,11:15-12:00 (ages 2 V 2 -AV 2 )
April Session: 4 Fridays, April 12-May
3,10:00-10:45 (ages V/2-2V 2 )\ 4 Fri¬
days, April 12-May 3,11:15-12:00 (ages
2 V2-4V2)
Young children and their favorite
grown-up are introduced to art, the
museum, and verbal and visual literacy
in this program that combines art¬
making, storytelling, movement, and
play. March topics: Sculpture, Pattern,
123, Hats. April topics: Spring, ABC,
Families, Water. One adult/child pair
$65, CMA family members $55. Limit 9
adult/child pairs.
SAVE THE DATES!
My Very First Art Class takes a break
while we prepare for Parade the Circle;
but we’ll be back July 5-26!
ART CLASSES FOR CHILDREN AND TEENS
6 Saturdays, March 16-April 27 (no
class March 30), mornings 10:00-11:30
or afternoons 1:00-2:30. Your child
can discover the wonders of the CMA
collection and uncover his or her cre¬
ativity in the process. Every class
visits our galleries each week and
then experiments with different art
techniques.
Art for Parent and Child (age 3)
Mornings ONLY. Four hands are better
than two! Parents and children learn
together while creating all kinds of
art inspired by gallery visits. Limit 12
pairs.
Mini-Masters: Pattern (ages 4-5)
Almost every gallery is overflowing
with examples of patterns. We’ll look
for patterns in paintings, ceramics,
textiles, and maybe even a mummy
case. Children practice making pat¬
terns to hang up, wear, and play with.
Line Around (ages 5-6) Young artists
search for lines in our galleries and
then experiment, producing their own
using paintbrushes, pastel chalks, and
even sticks.
Colorific (ages 6-8) The focus is on
color! What’s your favorite color? Chil¬
dren mix colors in paint to create land¬
scapes, portraits, and other images.
They also experiment with transpar¬
ent, translucent, and opaque papers to
make colorful collages.
Vivid Visions (ages 8-10) Inspired by
art in our galleries, students create
colorful prints, collages, 3-D construc¬
tions, and paintings in a variety of
media.
Start with the Basics #2 (ages 10-12)
In our fall session we began to learn
the basic fundamentals of art. In this
class we perfect our skills, practic¬
ing shading, drawing, color mixing,
and using darks and lights as well as
pattern in compositions. All levels
welcome!
Teen Drawing Workshop (ages 13-17)
Afternoons ONLY. Teens use perspec¬
tive, contour, and shading to create
expressive drawings and linear de¬
signs. Students learn from observation
in our galleries as well as exercises in
the classroom.
Claymation: Bring Art to Life! (ages 11
and up) Mornings ONLY. Create char¬
acters from armatures and polymer
clay to populate and bring CMA im¬
ages to life. Write your own story with
these images as a stage and utilize still
cameras with our editing equipment
to produce stop-motion animation
shorts. Limit 10. Special price: $150,
CMA Family members $125.
FEES AND REGISTRATION
Most classes $72, CMA family mem¬
bers $60. Art for Parent and Child
$85/$72. Claymation $150/$125. My
Very First Art class $65/$55. Register
in person or call the ticket center at
216-421-7350. Registration is on a
first-come, first-served basis. Museum
members have priority registration
from February 1-15. General registra¬
tion opens on February 16.
SAVE THE DATES
FOR SUMMER FUN!
Summer Sessions 4 Saturdays, July
6-27, morning or afternoon; 8 week¬
days, Tuesdays and Thursdays, July
2-30, morning or afternoon.
34 March/April 2013
STROLLER TOURS
ART TOGETHER
COMMUNITY ARTS
Kids Registration
216-421-7350 or
in person. More
information:
familyyouthinfo@
clevelandart.org or
216-707-2182.
Adult Registration
216-421-7350 or
in person. More
information:
adultstudios@
clevelandart.org
or 216-707-2487.
Supply lists avail¬
able at the ticket
center.
Cancellation
Policy Classes
with insufficient
registration will
be combined or
canceled three
days before class
begins, with en-
rollees notified
and fully refunded.
Refunds are issued
anytime before the
beginning of the
session. After the
first class, con¬
sideration will be
given to refunds
on an individual
basis.
Babies welcome! In fact, you need a
baby in tow if you want to join this
group. Join us the first and third
Wednesday of each month for a
casual and lively discussion led by
a museum educator in the galleries—
just for parents and caregivers and
their pre-toddler age (18 months and
younger) children. Expect a special
kind of outing that allows for adult
conversation where no one minds if a
baby lends his or her opinion with a
coo or a cry.
Register through the ticket center,
216-421-7350. Each adult/infant pair
$7, CMA members $5. Please meet us
in the Ames Family Atrium at the in¬
formation desk.
Good Guys versus Bad Guys
Wednesday, March 6,10:30-11:30
Fred Wilson Wednesday, March 20,
10:30-11:30
How’d They Make That? Wednesday,
April 3,10:30-11:30
Fashion and Art Wednesday, April 17,
10:30-11:30
Art Together is about families mak¬
ing, sharing, and having fun together
in the galleries and in the classroom.
Each workshop is a unique hands-on
experience that links art-making to
one of our special exhibitions. Visits to
special exhibitions inspire exploration
of a wide variety of art techniques
and materials. Whether you attend
one workshop or participate in the
whole series, we encourage you and
your family to make Art Together.
Each adult/child pair $36, CMA mem¬
bers $30; each additional person $5.
Plaster and Paper Castings Inspired
by Pompeii Sunday, April 21,1:00-
3:30. Like the artists in the special
exhibition The Last Days of Pompeii,
we’ll be inspired by ancient cultures
and their discovery. Using casting
techniques just like archaeologists,
we’ll preserve our artistic creations in
plaster and paper. Members registra¬
tion begins March 1, nonmembers
March 15.
Art Crew A troupe of characters based
on objects in the museum’s permanent
collection gives the CMA a touchable
presence and vitality in the commu¬
nity. $50 nonrefundable booking fee
and $50/hour with a two-hour
minimum for each character and
handler. Contact 216-707-2483 or
commartsinfo@clevelandart.org.
HOMESCHOOL STUDIOS
On the third Thursday of each month,
special studio classes are offered for
homeschool families and organiza¬
tions from 10:30-12:00. Programs
include gallery visits and hands-on
studio classes. Students grouped by
age according to enrollment. $6 per
student with one accompanying adult
free; $6 for each additional adult. This
program is intended for children over
age 5.
Form and Mythical Monsters
Thursday, March 21,10:30-12:00
Line and Portraiture Thursday, April
18,10:30-12:00
SPRING ADULT STUDIOS
Learn from artists in informal studios
with individual attention.
Traditional Portrait Painting in Oil 8
Sundays, March 10-May 5,1:00-3:30.
Discover the joy of portrait painting
in oil in the tradition passed down
from the masters. Students follow a
step-by-step process and learn about
their materials, blocking in, color mix¬
ing, and brushwork. Students copy
from a painting of their choice for four
weeks and work from a model for the
last sessions. Classes begin with a
demonstration, then students receive
individual instruction as they work.
Beginners to advanced. Instructor:
Jeremy Tugeau. $200, CMA members
$164 (price includes model fee).
Painting for Beginners, Oil and
Acrylic 8 Tuesdays, March 12-April 30,
10:00-12:30. Balance and contrast col¬
or, tonal relationships, pattern, texture,
and form while building confidence
with brushwork. Beginners learn use
of warm and cool colors, wet-into-wet
blending, glazing, color-mixing, and
palette organization. Instructor: Susan
Gray Be. $180, CMA members $144.
Bring your own supplies or buy for
$80.
Drawing in the Galleries 8 Wednes¬
days, March 13-May 1,10:00-12:30
or 6:00-8:30. Sculpture and paint¬
ings throughout the museum inspire
drawing in charcoal and pencils, in¬
cluding colored conte pencil. All skill
levels welcome. High school students
needing observation work for col¬
lege admission are always welcome.
Instructor: Susan Gray Be. $190, CMA
members $154. All supplies provided.
Printmaking 8 Wednesdays, March
13-May 1,12:30-3:00. This hands-on
class for beginning and intermedi¬
ate students explores masterful craft
techniques with a classic printing
press. Students explore the museum
as inspiration for linoleum, dry-point,
monoprints, and silkscreen tech¬
niques. Instructor: Cliff Novak. $180,
CMA members $144.
Composition in Oil 8 Fridays, March
15-May 10,10:00-12:30 or 6:00-8:30.
Refine compositions with contrast¬
ing color, pattern, texture, tone, and
line. Charcoal drawing on the first day
leads to underpainting, wet-into-wet
blending, and glazing. Geared to all
levels. Beginners and high school
students needing observation work
are always welcome. Instructor: Susan
Gray Be. $200, CMA members $164
(price includes model fee). Bring your
own supplies or buy for $80.
Introduction to Drawing 8 Fridays,
March 15-May 10, 6:00-8:30. Here’s a
great place to start while building your
confidence. Beginners learn simple
yet effective drawing techniques us¬
ing basic graphite and conte crayon
on paper. Instructor: Darius Steward.
$190, CMA members $154. Basic sup¬
plies provided.
Chinese Painting 8 Tuesdays, March
19-May 7,1:00-3:30. Experienced stu¬
dents continue explorations in Chinese
master techniques. Instructor: Mitzi
Lai. $180, CMA members $144.
Wednesday Morning Watercolor 8
Wednesdays, March 27-May 15, 9:30-
12:00, CAS.* All levels welcome. Paper
provided. Materials list discussed at
first class for new students. Instructor:
Jesse Rhinehart. $190, CMA members
$154.
Watercolor in the Evening 8 Wednes¬
days, March 27-May 15, 6:00-8:30,
CAS.* All levels welcome. Paper pro¬
vided. Materials list discussed at first
class for new students. Instructor:
Jesse Rhinehart. $190, CMA members
$154.
Beginning Watercolor 8 Thursdays,
March 28-May 16, 9:30-12:00, CAS.*
Geared to the beginner, but all levels
welcome. Learn color mixing, paint ap¬
plication, and subject matter selection.
Paper provided. Complete materials
list given at first session. Instructor:
Jesse Rhinehart. $190, CMA members
$154.
Gestural Drawing in the Atrium and
Galleries 4 Sundays, April 7-28,12:30-
3:00. Experience the brilliant light of
the NEW atrium while drawing a live
model! Other afternoons spent in the
galleries. Practice, expression, and
technique equally encouraged. Quick
poses in charcoal and conte followed
by longer drawings in various dry
media: charcoal, graphite pencil, and
colored conte pencils. Instructor:
Susan Gray Be. $95, CMA members
$85. Includes model fee for one ses¬
sion. All supplies provided.
*CAS: All watercolor classes are held
at the Community Arts Studio (CAS) at
1843 Columbus Road, Cleveland.
36 March/April 2013
TRANSFORMATION
HERE NOW AND COMING SOON
The New Store, Cafe, and Atrium
Are Open The Provenance restau¬
rant and cafe and the new museum
store opened in the new west wing
in the fall.
Open Now: Ancient Art, African
Art, Medieval European Art, Euro¬
pean and American Art from 1600
to about 1900 The main floor of the
1916 building is open with European
and American art from the 1600s
into the 19th century. In 1916 level 1:
ancient Near East, Greek, Roman,
sub-Saharan African, Egyptian,
medieval European, Renaissance,
and Islamic art.
Coming Up The next new spaces
to open are the rooms housing art
of the Americas in the eastern half
of the new north galleries, coming
up in June.
Holiday Fun Wilson Clark Thors, age 9,
strikes a pose in the Armor Court.
TEDXCLE
We’re excited to announce that on
Thursday, March 21, the museum will
host the fourth annual TEDxCLE in
Gartner Auditorium. TED (Technology,
Entertainment, Design) gathers the
world’s leading thinkers and doers to
share their passions. TEDxCLE is the
Cleveland chapter of the organization.
For details visit TEDxCLE.com.
ESTABLISHING A LEGACY
IN THE STORE
Read It Online!
Cleveland Art is
available online at
www.ClevelandArt.
org/MembersOnly.
Conserve paper,
reduce costs, and
access your issues
anytime by signing
up to receive your
magazine elec¬
tronically in Adobe
Acrobat pdf format.
To sign up, e-mail
membership@
clevelandart.org.
Please recycle your
printed magazine
if you don’t keep it
forever.
What if you could give a meaningful
gift to the Cleveland Museum of Art
with funds that you didn’t need during
your lifetime, and what if that initial
gift could continue to provide support
for the museum forever ? Wouldn’t
that be a wonderful way to ensure
that your museum could remain free
for generations and sustain its level of
world-class excellence?
Here’s how to establish a legacy that
keeps on giving: name the museum
as a beneficiary in your will or trust,
specifying that the funds should be
used to establish an endowment in
your name. A bequest of $25,000 or
more will establish a named endow¬
ment for general operating support.
For a gift of $100,000 or more, you
can establish an endowment in your
name for a specific purpose, such as
art purchase, conservation, the library,
education, or musical arts. Funds for
the creation of an endowment are
invested. The principal of the endow¬
ment is not spent; only income and
market appreciation from the fund are
used.
Endowments are crucial to maintain¬
ing the strength of the museum.
Endowments established by the
Cleveland Museum of Art’s founding
fathers—Huntington, Hurlbut, Kelley,
and Wade—continue to support the
museum to this very day. Please
consider continuing this tradition by
creating your own endowment.
Establishing your own legacy may be
easier than you think.
For suggested bequest language, or
to discuss setting up an endowment
during your lifetime, contact Marjorie
Williams, senior director of endow¬
ment development, at 216-707-2481 or
mwilliams@clevelandart.org.
For more information about gift plan¬
ning and how the “fiscal cliff” legisla¬
tion affects your charitable gift, visit
www.clevelandart.giftplans.org.
Umbrella This umbrella is inspired by
the architecture of Rafael Vinoly, who
designed the museum’s expansion
and renovation carried out between
2005 and 2012. Marble and granite
bands that wrap around Vinoly’s two
zig-zagging wings playfully allude to
the museum’s two earlier buildings—
the stately 1916 Beaux-Arts edifice in
white stone by Hubbell & Benes and
the 1971 modernist addition by Marcel
Breuer in striped gray granite. $32,
Members Special $24 (25% off).
37 www.ClevelandArt.org
SUN 10-5
MON closed
TUE 10-5
WED 10-9
THU 10-5
FRI 10-9
SAT 10-5 |
1
My Very First Art Class
Begins 10:00,11:15 R$
Highlights Tour 1:30
MIX up at CMA 5:00-
11:00 Apocalypse T$
Theater Ninjas 7:00
The Excavation T
2
Highlights Tour 1:30
Film 7:00 The Last Days
of Pompeii (1926) $
3 4 5
6 7 8
9
Highlights Tours 1:30 Museum closed
Film 1:30 The House I
Live In $
Lecture 2:00 The
Caporali Missal
Stephen Fliegel
Parade Leadership
Workshops Begin
Parade Studio
Highlights Tour 1:30
Tour 2:30 PompeiiT
The Rabbi’s Cat
Philosophical feline
Stroller Tour 10:30 Good Highlights Tour 1:30
Guys v. Bad Guys R$ Tour 2:30 Pompe// T
Book Club Begins 1:30
Pompeii
Highlights Tour 1:30
Tour 2:30 Pompeii T
Lecture 5:30 Villas at
Vesuvius John R. Clarke
Gallery Concert 6:00
CWRU young artists
Film 7:00 Photographic
Memory $
Gallery Talk 7:00
Abstract Expressionism
and Pompeii T
Performance 7:30 The
Art of Naqqali$
Highlights Tour 1:30
Ninja Day 3:00-7:00 T
Lecture 6:00 Art of
Storytelling in Iran
Stephen Blum
Film 7:00 Beware of
Mr. Baker $
Lecture 7:00 Fred
Wilson Speaks R$
Performance 7:30 The
Art of Naqqali $
Early Childhood
Educator Workshop
10:00-1:00 Science and
Art R$
Lecture 1:00 Art of
Storytelling in Iran
Davood Fathali Beygy
Highlights Tour 1:30
Tour 2:30 Pompeii T
Performance 2:30 The
Art of Naqqali $
10 11 12 13
14 15
16
Second Sunday 11:00- Museum closed
4:00 Pompeii
Ninja Day 12:00-4:00 T
Art Cart 1:00 Pompeii
Adult Studio Begins
1:00 Portraits R$
Film 1:30 The Rabbi’s
Cat$
Highlights Tour 1:30
Performance 2:30 The
Art of Naqqali $
Adult Studio Begins
10:00-12:30 Painting
for Beginners, Oil &
Acrylic R$
Art in the Afternoon
1:15 R
Highlights Tour 1:30
Tour 2:30 Pompeii T
Adult Studios Begin
10:00 or 6:00 Drawing
in the Galleries R$
12:30 Printmaking R$
Highlights Tour 1:30
Tour 2:30 Pompeii T
Film 6:30 The Waiting
Room $
Lecture 7:00 The
Poetry of the Earth
Heather Lemonedes
Highlights Tour 1:30
Tour 2:30 Pompeii T
Adult Studios Begin
10:00-12:30 or 6:00-
8:30 Composition in
OH R$
6:00-8:30 Introduction
to Drawing R$
Highlights Tour 1:30
Ninja Day 3:00-7:00 T
Film 7:00 The Waiting
Room $
Performance 7:30
Naseer Shamma &
Ensemble $
Museum Art Classes
for Children and
Teens Begin 10:00-
11:30 or 1:00-2:30 R$
Educator Workshop
10:00-1:00 Recording
Disaster: Cartooning
Workshop R$
Highlights Tour 1:30
Tour 2:30 Pompeii T
17
18
19
20
21
22
23
Ninja Day 12:00-4:00 1
Highlights Tour 1:30
Film 1:30 Hitler’s Chil¬
dren $
Lecture 2:00 The Last
Days of Pompeii Jon
Seydl R$
Museum closed
Adult Studio Begins
1:00-3:30 Chinese
Painting R$
Highlights Tour 1:30
Tour 2:30 Pompeii T
Stroller Tour 10:30-
11:30 Fred Wilson R$
Highlights Tour 1:30
Tour 2:30 Pompeii T
Panel Discussion
5:30, CSU Book Arts in
World Religions
Theater Ninjas 7:00
The Excavation
Homeschool @ the
CMA 10:30-12:00 Form
and Mythical Monsters
R$
Highlights Tour 1:30
Tour 2:30 Pompeii T
Highlights Tour 1:30
Ninja Day 3:00-7:00 T
Film 7:00 Starlet $
Performance 7:30 Ana
Moura: The Fado of
Portugal $
Educator Workshop
10:00-1:00 Recording
Disaster: Cartooning
Workshop R$
Highlights Tour 1:30
Artist Talk 2:00 Life
and Work Allan
McCollum R$
Tour 2:30 Pompeii T
Film 7:00 Hitler’s
Children $
24
25
26
27
28
29
30
Ninja Day 12:00-4:00 T
Highlights Tour 1:30
Film 1:30 The Central
Park Five $
Museum closed
Highlights Tour 1:30
Tour 2:30 Pompeii T
Adult Studios Begin
9:30 and 6:00 Water-
color CAS R$
Highlights Tour 1:30
Tour 2:30 Pompeii T
Adult Studio Begins
9:30-12:00 Beginning
Watercolor CAS R$
Highlights Tour 1:30
Tour 2:30 Pompeii T
Highlights Tour 1:30
Film 7:00 Middle of
Nowhere $
Highlights Tour 1:30
Film 1:30 Middle of
Nowhere $
Tour 2:30 Pompeii T
No museum art classes
Art Study Group 6:30
Pompeii T
Film 6:45 Apocalypse
Not$
Middle of Nowhere Med school on hold
31
Highlights Tour 1:30
MIX at CMA Afrobeat
1 SUN 10 5
MON closed
TUE 10-5
WED 10-9
THU 10 5
FRI 10-9
SAT 10 5 1
1
2
3
4
5
6
$ Admission fee
R Reservation required
T Ticket required
M Members only
*CAS Community
Arts Studio, 1843
Columbus Rd
Museum closed
Highlights Tour 1:30
Tour 2:30 Pompeii T
Stroller Tour 10:30-
11:30 How’d They Make
That? R$
Highlights Tour 1:30
Tour 2:30 Pompeii T
Gallery Concert 6:00
ClM young artists
Highlights Tour 1:30
Tour 2:30 Pompeii T
Highlights Tour 1:30
Ninja Day 3:00-7:00 T
MIX at CMA 5:00-9:00
Afrobeat T$
Prix Fixe Dinner 7:00
Oliver Mtukudzi
Dinner R$
Atrium Dance Party
9:00 Oliver Mtukudzi $
Highlights Tour 1:30
Lecture 2:00 Stolen
from Death: 150 Years
of the Pompeian Casts,
or the Casts as Works
of Art Eugene Dwyer
R$
Tour 2:30 Pompeii T
7
8
9
10
11
12
13
Ninja Day 12:00-4:00
T
Adult Studio Begins
12:30-3:00 Gestural
Drawing in the Atrium
and Galleries R$
Highlights Tour 1:30
Museum closed
Highlights Tour 1:30
Art in the Afternoon
1:15 R
Tour 2:30 Pompeii T
Highlights Tour 1:30
Tour 2:30 Pompeii T
Circle Neighbors
6:00 Steven Litt, Chris
Ronayne, Ari Maron,
and India Pierce Lee
Highlights Tour 1:30
Tour 2:30 Pompeii T
My Very First Art
Class Begins 10:00-
10:45 (ages VA-2/T);
11:15-12:00 (ages
214-414) R$
Highlights Tour 1:30
Theater Ninjas Per¬
formance 7:00 The
Excavation
Educator Workshop
10:00-1:00 Science of
Manuscripts R$
Highlights Tour 1:30
Tour 2:30 Pompeii T
14
15
16
17
18
19
20
Second Sunday
11:00-4:00 Come Play
at the CMA
Ninja Day 12:00-
4:00 T
Art Cart 1:00-3:00
Pompeii
Highlights Tour 1:30
Lecture 2:00 Inside
"American Vesuvius "
Donald Palmer and
Barbara Tannenbaum
Museum closed
Highlights Tour 1:30
Tour 2:30 Pompeii T
Stroller Tour 10:30-
11:30 Fashion and
Art R$
Highlights Tour 1:30
Library Program 1:30
Collection in Focus
Tour 2:30 Pompeii T
Lecture 5:30, CSU
Student Center
Praying Mantises in
Gray Vesture Father
Michael Cusato
Highlights Tour 1:30
Homeschool @ the
CMA 10:30-12:00 Line
and Portraiture R$
Tour 2:30 Pompeii T
Highlights Tour 1:30
Ninja Day 3:00-7:00 T
Film 5:30 and 7:15
Tchoupitoulas $
Performance 7:30
Paris Combo $
Highlights Tour 1:30
Tour 2:30 Pompeii T
Film 6:30 4 Man
Vanishes $
21
22
23
24
25
26
27
Ninja Day 12:00-
4:00 T
Art Together 1:00-
3:30 Plaster and Paper
Castings Inspired by
Pompeii R$
Highlights Tour 1:30
Film 1:30 Bestiaire
(Bestiary) $
Lecture and Perfor¬
mance 2:00 Music for
the Mass of St. Francis
in the Caporali Missal
David Rothenberg.
Meet in the exhibition
Museum closed Highlights Tour 1:30
Tour 2:30 Pompeii T
Lou Harrison California composer
28
29
30
Highlights Tour 1:30
Museum closed
Highlights Tour 1:30
Film 1:30 Lou Harrison:
A World of Music $
Tour 2:30 Pompeii T
Theater Ninjas Per¬
formance 2:00 The
Excavation
Highlights Tour 1:30
Tour 2:30 Pompeii T
Film 7:00 The Last
Days of Pompeii
(1935)$
Highlights Tour 1:30
Tour 2:30 Pompeii T
Highlights Tour 1:30
Ninja Day 3:00-7:00 T
Lecture 7:00 "The
Fated Hand": Time
and Transformation in
the Work of Edward
Burne-Jones
Andrea Rager
Film 7:00 Crossroads
and Music with Balls $
Highlights Tour 1:30
Tour 2:30 Pompeii T
ONLINE
CALENDAR
Sortable online
calendar at
ClevelandArt.org/
calendar
The Last Days of Pompeii 1935 version
Periodicals
postage paid at
Cleveland, Ohio
THE CLEVELAND
MUSEUM OF ART
11150 East Boulevard
University Circle
Cleveland,Ohio
44106-1797
Dated Material
Do Not Delay
www.ClevelandArt.org
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10:00-5:00
Administrative
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